UNIVERSITY OF CALIFORNIA
Los Angeles
Volume I
Affect and Feelings: The Persuasive Power of Film Music
Volume II
Quintet for Piano and String Quartet
A dissertation submitted in partial satisfaction of
the requirements for the degree
Doctor of Philosophy in Music
by
Fernando Arroyo García Lascurain
2017
© Copyright by
Fernando Arroyo García Lascurain
2017 ABSTRACT OF THE DISSERTATION
Volume I
Affect and Feelings: The Persuasive Power of Film Music
Volume II
Quintet for Piano and String Quartet
by
Fernando Arroyo García Lascurain
Doctor of Philosophy in Music
University of California, Los Angeles, 2017
Professor David Samuel Lefkowitz, Chair
VOLUME I
In musical composition composers rely on the audience’s inherent understanding of sound and musical affect. As the art form developed, the segregation of popular, folk and
“academic” music became more evident, thus leading contemporary concert music (different from pop, rock, electronic and folk music) to be labeled under the larger realm of “classical” music. What general audiences associate with classical music is the work of Beethoven, Mozart,
ii Tchaikovsky, other composers of the past and present, orchestral or instrumental music written by “classically” trained composers. This separation often makes the general audience think of classical music as museum pieces, which are not (in most cases) a part of everyday life or popular culture. However, classical music is experienced regularly through film. The musical language encountered in film is mostly informed by so called “classical” music, ranging from
Gregorian chant, highly complex dissonant music, to electronic or pop music.
The marriage of music and film allowed for an exploration of musical range in terms of genre, sound world, musical material and emotionality to create affective responses inherent in the audience. This exploration resulted in the use of well-known musical signifiers called tropes to elicit said affective response. Some of these tropes pre-dated film music, others grew from conventions imposed by early composers of the genre, and some were created by iconic films or other musical genres. Utilizing tropes, film composers accompany, convey and shape the narrative of the film.
Focusing on film music, in this dissertation, musical affect and narrative through the use of musical tropes is explored.
VOLUME II
This quintet for Piano and String Quartet utilizes some of the film music tropes mentioned in Volume I to create an implied narrative. However the programmatic narrative of the piece isn’t revealed to the audience in hopes that the recognizable tropes help convey the meaning of the narrative.
iii The dissertation of Fernando Arroyo García Lascurain is approved.
Travis J. Cross
Ian Krouse
Celia Mercer
David Samuel Lefkowitz, Committee Chair
University of California, Los Angeles
2017
iv DEDICATION
This dissertation is dedicated to my parents Tere and Jorge, and my siblings Sofia and
Jorge. Your continued support and love since I began studying music 21 years ago, your words of encouragement and the constant guidance continue to be the biggest source motivation in my life. The sacrifices you made to allow me to live my dreams, and fulfill my academic goals, move and inspire me every day.
I also dedicate this dissertation to my dear friend Cameron. You have become family, and the support you provide, is crucial to any success I’ve had in the last four years.
v TABLE OF CONTENTS
Abstract of the Dissertation…………………………………………………………………....ii
Volume I…………………………………………………………………………………ii
Volume II………………………………………………………………………………..iii
Dedication…………………………………………………………………………………….…v
Table of Contents………………………………………………………………………….…...vi
Table of Figures...…………………………………………………………………………...... viii
Figures……………………………………………………………………………..…...viii
Charts..………………………………………………………………………………...... ix
Acknowledgements…………………………………………………………………………...... x
Biographical Sketch.…………………………………………………………………………...xi
Volume I…………………………………………………………………………………………1
Chapter I: Music, Affect & Narrative………………………………………………………....2
Introduction……………………………………………………………………………....2
Music & Affect……………………………………………………………………….….3
Music & Narrative……………………………...………………………………………..9
Chapter II: Tropes & Programmatic Music.………………………………………………..17
Musical Tropes……………………………………………………………………….…17
Programmatic Music…………………………………………………………………....21
Instrumental music in the Baroque & Classical eras………………..………….21
The Tone Poem………………………………...…………..…………………...24
vi Chapter III: Musical Analysis……………….……………………………………………….27
Franz Liszt – Prometheus, Symphonic Poem No.9, S.99…………...………………….27
The Motives……………………………….....………..…...…………………...28
Structure……………………………..……………….………………………....31
Richard Strauss – Also Sprach Zarathustra, Op.30…………………………………….38
The Motives…………….....…………………………..…...…………………...39
Structure…………………………………………...…………………………....43
Analysis Conclusion…………………………………………………………………....50
Chapter IV: Film Music Tropes……………………………………………………………...52
The “Birth” of Film Music……………………………………………………………..52
Modern Film Music & Film Music Tropes…………………………………………….54
The different kinds of Film Music Tropes……...…………………...………....56
Cataloguing Film Music Tropes..……………...……………………………….64
Chapter V: Silverado, a Film Music Affective Analysis…………………………………….67
Analysis: “Main Title”…..……………………………………………………………...71
Analysis Conclusion…………………………………………………………………....77
Conclusion……………………………………………………………………………………..79
Appendix………………………………………………………………………………………81
Bibliography…………………………………………………………………………………..88
Volume II………………………………………………………………………………………91
vii TABLE OF FIGURES
Figures
Figure 1, Jean-Philippe Rameau, Overture from Zais (score excerpt)………………………...... 21
Figure 2.1, Franz Liszt, Prometheus (motive 1, score excerpt)………………………………....28
Figure 2.2, Prometheus (motive 2, score excerpt)…………….………………………………...29
Figure 2.3, Prometheus (motive 3, score excerpt).……………………………………………...29
Figure 2.4, Prometheus (motive 4, score excerpt)…………….………………………………...30
Figure 2.5, Prometheus (motive 5, score excerpt)…………….………………………………...31
Figure 3.1, Richard Strauss, Also Sprach Zarathustra (motive 1)……………………………...39
Figure 3.2, Zarathustra (motive 2)…………….………………………………………………..40
Figure 3.3, Zarathustra (motive 3).……………………………………………………………..40
Figure 3.4, Zarathustra (motive 4)…………….……………………………………………..…40
Figure 3.5, Zarathustra (motive 5)…………….……………………………………………..…41
Figure 3.6, Zarathustra (motive 6)…………….……………………………………………..…41
Figure 3.7, Zarathustra (motive 7)…………….……………………………………………..…41
Figure 3.8, Zarathustra (motive 8)…………….……………………………………………..…42
Figure 3.9, Zarathustra (motive 9)…………….……………………………………………..…42
Figure 3.10, Zarathustra (motive 10)…………….…………………………………………..…43
Figure 4.1……………………………………………………………………………………..…57
a) Antonin Dvorak, Symphony No.9 - Movement IV (score reduction)………………..57
b) Igor Stravinsky, Rite of Spring - Dance of the Young Girls (score reduction)………57
viii c) John Williams, Jaws - “Opening titles” (score reduction)……………………….….58
Figure 4.2, Alan Silvestri, The Abyss (harmonic reduction)………………………..…….……59
Figure 4.3………………………………………………………………………………………61
a) Gustav Holst, The Planets - Mars (score reduction)……………...………………....61
b) Hans Zimmer, Gladiator – “The Battle” (score reduction).……………...………....62
Figure 5.1, Bruce Broughton, Silverado - Main Theme (score reduction)……………………..69
Figure 5.2, Silverado - Settlers Theme (score reduction)……………………………………....70
Figure 5.3, Silverado - “Main title” (score excerpt reduction)……………………………….....72
Figure 5.4, Silverado - “Main title” (score excerpt reduction)……………………………….....73
Figure 5.5, Silverado - “Main title” (score excerpt reduction)……………………………….....74
Figure 5.6, Silverado - “Main title” (score excerpt reduction)……………………………….....74
Figure 5.7, Silverado - “Main title” (score excerpt reduction)……………………………….....75
Figure 5.8, Silverado - “Party Crashers” (score excerpt reduction)………………………….....76
Charts
Chart 1, Franz Liszt, Prometheus (block diagram)…………………………………………….32
Chart 2, Richard Strauss, Also Sprach Zarathustra (arc diagram)…………………………….49
ix AKNLOWLEDGEMENTS
It is with sincere gratitude that I thank my committee members for their generous participation in this process, imparting me with their experience, knowledge and time. I am especially grateful to Dr. David S Lefkowitz, my dissertation advisor, for his patience, guidance, knowledge and continued support throughout the writing of this dissertation and my years at
UCLA. I am also thankful to my mentors and teachers at UCLA, Dr. Ian Krouse, Dr. Bruce
Broughton, Dr. Peter Golub, and Dr. Paul Chihara; my mentors at Manhattan School of music,
Dr. Richard Danielpour, Dr. Nils Vigeland, Dr. Reiko Futing and Dr. J. Mark Stambaugh; my violin, piano and composition teachers Dr. Gabriel Pliego, Gonzalo Gutierrez, Ninfa Calvario,
Julieta Mora, Mauricio Nader and Humberto Hernandez Medrano; you inspire me an continue to do so through your knowledge and art.
Many thanks for the unwavering support of my dear aunts Maria, Margarita and Nina, my extended family, and my dear friends Renato, Michael, Leif, Dimitry, Filip, Jesus, Anna,
Rodrigo, Daniel and Trent.
Finally, I thank my uncle and aunt Roberto and Cecilia, for their support in the early stages of my career.
x BIOGRAPHICAL SKETCH
Fernando Arroyo García Lascurain received his Bachelor of Music (2009) and Master of
Music (2011) degrees in Composition at the Manhattan School of Music under the tutelage of
Dr. Richard Danielpour, where he was awarded a “Merit Scholarship” for two years. Upon graduation from his Master degree, Arroyo was awarded the Van Lier Foundation Fellowship, an award given to a young composer in the early stages of his career, working in any style of music or sound art that have proven their artistic merit. In 2012 he relocated to Los Angeles to pursue a
PhD in Composition at the University of California in Los Angeles (UCLA), where he served as a teaching assistant for Musicianship and Music Theory courses. At UCLA, composers Bruce
Broughton, Paul Chihara, Peter Golub, Ian Krouse, and David S. Lefkowitz mentored him.
During the summer of 2015, renowned Mexican private university Universidad
Panamericana asked Fernando to help create the first private university program for the Fine Arts
(Bellas Artes) in Mexico. His duties included creating the curriculums for a four-year degree in film music composition, music technology, orchestration, music theory and ear training.
As a violinist and pianist, Fernando Arroyo has performed Arroyo has performed with the
Orquesta Arteus, OCUP Orchestra, OSC Orchestra, Artemus Orchestra and in venues such as
Carnegie Hall, Symphony Space in NYC, Le Poison Rouge, Kings College Cambridge, LACMA
Museum in Los Angeles, Metropolitan Museum of Art in NYC, Sala Nezahualcoyotl, Sala Ollin
Yoliztli, Palacio de Bellas Artes and other concert halls across Mexico. He has also performed in
Cambridge, London, Madrid, Torres Ciudad, Bilbao, Navarra, Chicago, Washington D.C, San
Diego, Los Angeles, San Francisco, Fresno and South Korea. He was also the Concertmaster of
xi the Cedros-UP Symphony Orchestra and the Universidad Panamericana Chamber Orchestra.
Fernando has been a featured performer in several recordings, ranging from classical to tango,
Danzón, rock, film and pop music.
Fernando Arroyo’s concert music has been performed throughout Mexico, Spain,
Chicago, New York, United Kingdom, South Korea, and California ranging from solo instrumental works, opera, chamber music, and large symphonic works to film, theatre and popular music. As a film composer, Fernando has collaborated with film directors Roland
Emmerich, Trent Kendrick and is set to compose the music for Jose Sierra’s (winner of the Ariel
Price 2015) first feature film. In the fall of 2013 Fernando wrote the Music for Any Given
Tuesday, a PSA featuring Elton John and Jamie Foxx. In 2016 Fernando composed the music for the documentary Pet Fooled (2017) by producer Michael Fossat, and worked as a music assistant and consultant for composer Harald Kloser on Independence Day: Resurgence (2016).
xii
VOLUME I
Affect and Feelings: The Persuasive Power of Film Music
1 CHAPTER I: MUSIC, AFFECT, & NARRATIVE
INTRODUCTION
It is no mystery that film and music induce strong emotional responses. We are easily seduced by “the experience”—the concept of heightened sensory state through entertainment.
Over the last century our society has increasingly become entertainment driven, and we are often exposed to an overload of sensory stimulations packed into small doses. Be it a YouTube video, a television show, a feature film, or even a ten second Snapchat video, we are often unaware of the intricacies involved in creating the strong emotional responses that make up “the experience.” Music, which I believe to be the most emotionally malleable of the arts, is central to these responses, utilizing affect and narrative to manipulate our emotions.
This dissertation explores the affective and emotional power of film music through the use of musical tropes. Not to be confused with the tropes of the 9th century,1 the musical tropes referred to in this dissertation are musical signifiers that have become conventional, be they harmonic progressions, melodic contours, instrumentation or the use of folk elements. Tropes become such out of a specific affective reaction or narrative association upon listening to them
(e.g., the high strings in the shower scene from Psycho, or the ostinato low strings in Jaws main
1 Musical tropes were originally conceived in the 9th century as “a number of closely related genres consisting essentially of additions to pre-existing chants. Three types of addition are found: (1) that of a musical phrase, a melisma without text (unlabelled or called trope in the sources); (2) that of a text to a pre-existing melisma (most frequently called prosula, prosa, verba or versus, though sometimes also trope, in the sources); (3) that of a new verse or verses, consisting of text and music (most frequently called trope, but also laudes, versus and in certain specific cases farsa, in the sources).” Alejandro Enrique Planchart. "Trope (i)." Grove Music Online, Oxford Music Online (Oxford University Press) http://www.oxfordmusiconline.com/subscriber/article/grove/music/28456
2 theme, signifying danger or horror); these reactions and associations can be intrinsic, learned, direct or abstract. To grasp why we react a certain way to these tropes, we must first understand affect in music.
MUSIC & AFFECT
Musical affect has been a topic of interest for centuries. Aristotle explored music beyond what he deemed something to be “pursued, not only as an alleviation of past toil, but as providing recreation.”2 He wrote:
“In addition to this common pleasure, felt and shared by all (for the pleasure
given by music is natural, and therefore adapted to all ages and characters), may it
not have also some influence over the character and the soul? It must have such
an influence if characters are affected by it. And that they are so affected is
proved in many ways, and not least by the power which the songs of Olympus
exercise; for beyond question they inspire enthusiasm, and enthusiasm is an
emotion of the ethical part of the soul. Besides, when men hear imitations, even
apart from the rhythms and tunes themselves, their feelings move in sympathy.”3
Both Plato and Aristotle define imitation as artistic representations of emotions and personality characteristics. This concept of imitation is present in tropes. The idea that music can imitate a feeling, an action, an object, animal or the concept of a place is an important element of a trope. Aristotle writes: “Rhythm and melody supply imitations of anger and gentleness, [...]
2 Aristotle, Politics, Book VIII, trans. Benjamin Jowett (Kitchener: Batoche Books, 1999), 186-87.
3 Ibid., 187. 3 and of other qualities of character, which hardly fall short of the actual affections, [...] for in listening to such strains our souls undergo a change. The habit of feeling pleasure or pain at mere representations is not far removed from the same feeling about realities.”4 The idea that music can create affect through imitation is one of the most important elements of a trope. Whether it is imitating an emotion or a sound, or associating an action with music; tropes rely on an intrinsic understanding of the parallels between the imitation and the object of imitation.
Referencing musical tropes in ancient Greece, Aristotle poses that in poetry and music there are imitations of manners. He states “even in mere melodies there is an imitation of character, for the musical modes differ essentially from one another, and those who hear them are differently affected by each.”5 Aristotle continues to describe affective responses associated with tropes, based on the ancient Greek modes (distinct from the church modes and known as tonoi6) and harmony: “Some of them make men sad and grave, like the so-called Mixolydian,
[...] another, again, produces a moderate and settled temper, which appears to be the peculiar
4 Aristotle, Politics, 187.
5 Ibid.
6 Different writers of the time had different understandings of the term tonoi: ● The section of the Harmonic Elements in which Aristoxenus discussed the tonoi has not survived, but it is clear from other sections of the treatise that Aristoxenus associated the tonoi with ‘positions of the voice’. This feature is preserved in Cleonides' later definition (Jan, 202.6–8), which states that the term tonos can refer to a note, an interval, a position of the voice and a pitch. Cleonides attributes to Aristoxenus 13 tonoi, with the proslambanomenoi advancing by semitone over the range of an octave between the Hypodorian and the Hypermixolydian; Aristides Quintilianus (On Music, i.10) observes that the ‘younger theorists’ (neōteroi) added two additional tonoi, and in fact just such a set of 15 tonoi is preserved in the notational tables of Alypius..." ● Ptolemy (Harmonics, esp. ii.3–11) presents a different conception of the tonoi, based on the seven octave species; this is not strictly a part of the Aristoxenian tradition but is related to it. In Ptolemy's view, since the seven octave species might be replicated within a single range of so-called ‘thetic’ notes and the dynamic function of the various notes is determined by the mese (which is itself partly determined by the intervals that surround it), there need only be seven tonoi. Thomas J. Mathiesen, et al. "Greece." Grove Music Online, Oxford Music Online. Oxford University Press, accessed May 17, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11694pg1
4 effect of the Dorian; the Phrygian inspires enthusiasm. The whole subject has been well treated by philosophical writers in this branch of education, and they confirm their arguments by facts.
The same principles apply to rhythms; some have character of rest, others of motion, and of these later again, some have a more vulgar, others a more nobler movement.”7
Following Aristotle’s affective views on the modes,8 scholars like Mattheson9 believed that the Greeks associated certain emotions with the tribes from which the names of the modes originated:
“Dorian harmony exhibited the manly vigour, magnificent bearing and
temperate nature of the true Hellenic race. Aeolian and Ionian keys mirrored the
characteristics of their respective Grecian tribes. Two keys were possibly adopted,
brought by the barbaric Phrygian and Lydian invaders. To these keys were
imparted respectively orgiastic and threnodic qualities… The Dorian key was
associated with kithara, Apollo, peace and objectivity, while the Phrygian key was
associated with the aulos, Dionysis, excitement and subjectivity.”10
Just as with modes, there were characteristics associated with certain instruments, which rendered them inappropriate for some modes. Aristotle offers an example of such exceptions:
“the flute is not an instrument which is expressive of moral character; it is too exciting. The proper time for using it is when the performance aims not at instruction, but at the relief of the
7 Aristotle, Politics, 187-89.
8 Maho Ishiguro, “The Affective Properties of keys in instrumental music from the late nineteenth and early twentieth centuries.” (Master’s thesis, University of Massachusetts – Amherst, 2010), 5-6.
9 Johann Mattheson, Der vollkommene Capellmeister: a revised translation with critical commentary by Ernest C. Harriss (Ann Arbor, Michigan: UMI Research Press, 1981).
10 Oliver Strunk, Source Reading in Music History, Vol.I (New York: Norton, 1998), 16.
5 passions.”11
During the Baroque period, Mattheson’s thoughts on musical affect and rhetoric went far beyond the modes, believing that it was important for a composer to learn the musical tools and affections to be able to manipulate the audience. In Der Vollkommene Capellmeister Mattheson speaks of the affective qualities of the different melodies, dances and types of pieces:
- Minuet = Moderate gaiety. - Gavotte = Jubilant joy. - Bouree = Contentedness, pleasantness, unconcerned, relaxed, careless. - Rigaudon = Flirtatious pleasantry, trifling jocularity. - La Marche = Heroic and fearless. - Entrée = Elevated, noble and majestic. - Gigue = Hot and hurried eagerness, passionate. - Loure = Proud, arrogant and pompous. - Canarie = Desire, eagerness and swiftness. - Giga = Greatest quickness. - Polonaise = Open Hearted, frank and free mannered. - Angloise = Stubbornness. - Passepied = Frivolity. - Rondeau = Firmness or firm confidence. - Sarabande = Ambition. - Courante = Sweet hopefulness. - Allemande = Contented or satisfied spirit. - Chaconne = Pleasure and satiety.12
Just as with the melodies and dances, Mattheson assigns affective characteristics to what he considers the 17 most practical key signatures:
1. C Major = Rude, bold or tender. 2. C minor = Sweet or sad. 3. D Major = Sharp, headstrong, warlike or merry. 4. D minor = Devout, tranquil, grand, amusing or flowing. 5. Eb Major = Pathos, serious, sad or hostile to all sensuality. 6. E Major = Despair, fatal sadness, hopelessness of extreme love, painful or piercing. 7. E minor = Pensive, profound, grieved or sad.
11 Aristotle, Politics, 189.
12 Johann Mattheson and Hans Lenneberg, “Johann Mattheson on Affect and Rhetoric in Music (I).” Journal of Music Theory 2, no. 1 (1958): 47-84. 6 8. F Major = Most beautiful sentiments, generosity, constancy or love. 9. F minor = Tender, calm, profound, weighty, a fatal mental anxiety or exceedingly moving. 10. F# minor = Languishing, amorous, unrestrained, strange or misanthropic. 11. G Major = Suggestive and rhetorical, for serious as well as gay things. 12. G minor = Almost the most beautiful, graceful, agreeable, tender, yearning, yearning, diverting, for moderate complaints or tempered joyfulness. 13. A Major = Affecting and brilliant, inclined to complaining or sad passions. 14. A minor = Plaintive, decorous, resigned or inviting sleep. 15. Bb Major = Diverting, magnificent, but also dainty. 16. B Major = Offensive, harsh, unpleasant or desperate character. 17. B minor = Bizarre, morose or melancholic.13$
Whether these particular associations still hold today or not, it shows how affect may be associated with specific musical devices. Film music relies on tropes to realize storytelling through music, and to enhance the action on the screen. Using the affective associations of tropes to bridge the audience with the emotions, storyline connections, and/or subtext not explicit on the screen.
When considering the affective power of tropes it is important to understand musical reactions that are innately determined, rather than those learned through experience. Why do we react in specific ways to low sounds, high sounds, rhythm, orchestration or harmony? In the article Multimodal Affective Interaction: A Comment on Musical Origins,14 Livingstone and
Thompson explore the origins of innate musical properties. They write, “the many uses of music across cultures and historic times suggest that music is not a purely auditory phenomenon
[but…] [a]ffective cues in music are integrated with those in accompanying gestures and facial expressions, and parallels exist in the nature of such cues in different domains such as melody
13$Johannes Mattheson, Die Drei Orchestre-Schriften, I Das Neu-Eröffnete Orchestre. (Hamburg: Laaber, Laaber- Verlag, 2002/1713), 231-53.
14$Steven R. Livingstone and William Forde Thompson, “Multimodal Affective Interaction.” Music Perception: An Interdisciplinary Journal 24 (2006): 89-94. 7 and prosody.”15 Livingstone and Thompson explain that, considering all music beyond Western music, “it is difficult to identify structural features or functions common to all music.” However, they believe the correlations are in “domains such as speech…[and]… other modalities.”16
Livingston and Thompson write about understanding the role of “acoustic and structural aspects of music’’ that is “reliably associated with affective connotations.”17 Drawing from a separate article, they talk about “affect represented in two dimensions: activity (arousal) and valence.”18 This idea is weaved into the nature of drama and music, and it is what storytellers rely on. If a film fails to elicit the proper arousal, is has failed at conveying the appropriate affective reaction from the audience.
Looking at musical cues19 in relationship to affective connotations (e.g. staccato, and fast music in a minor key have negative connotations like anger or aggression), Livingston and
Thompson explore why we make those associations. They propose “a general capacity for affective interaction, coupled with the emergence of a theory of mind, enabled a host of symbolic systems, including music.”20 They relate this to Aristotle’s idea of the imitation of emotions through musical association, and give us a better understanding of Mattheson’s affective musical associations.
15 Ibid., 89.
16 Livingstone and Thompson, “Affective Interaction,” 90.
17 Ibid.
18 Ibid., 91.
19 For the purpose of this dissertation it is important to note the difference between the ‘musical cues’ in the context of music as a whole, and the ‘musical cues’ in a film. The former represent the emotional cues elicited by music, and the later refers to any appearance of music in a film. For the purpose of clarity, hereafter, ‘musical cues’ in a film will be referred to as ‘score cue/s’.
20 Ibid. 8 Ervin Laszlo defines affect “as the emotion arising in the context of a stimulus-response relationship.”21 To explore this definition, Lazlo referenced MacCurdy's analysis that “affect involves three phases: (a) the arousal of nervous energy in connection with instinct or tendency;
(b) the propensity for this energy to become manifest as behaviour or conscious thought once the tendency is inhibited; and (c) the manifestation of the energy as affect if also behaviour and conscious thought are inhibited.”22 Laszlo explains that “applied to music the theory of affect states that musical works set up expectations for the listener due to a concordance of the heard patterns of sound with past musical experience,”23 but given that every musical work, or new listening of a previously heard work ends up being new in relation to all others, these expectations are inhibited with arousal being the resulting effect of said inhibitions. Based on these assertions, Laszlo continues: “The theory explains the emotional response to music in terms of a wide-ranging psychological theory of emotion. It identifies the listener's emotions as affect, arising due to the inhibition of acquired patterns of expectation.”24
MUSIC & NARRATIVE
If we consider Laszlo’s assertions, that the listener’s affective responses are a reaction to a broken expectation, it is possible to draw a parallel with unexpected turning points in a story. It is in this regard that I believe musical affect is a product of musical narrative, where the
21 Ervin Laszlo, “Affect and Expression in Music.” The Journal of Aesthetics and Art Criticism, Vol.27 (1968): 131.
22 Laszlo, “Affect and Expression in Music,” 131.
23 Ibid., 132.
24 Ibid. 9 composer relies on the created expectations of the narrative, only to disrupt them through an unexpected event, thus eliciting an affective reaction from the audience.
Fred Everett Maus25 talks about Vladimir Propp’s Morphology of the Folktale26 and his contributions to “modern narrative syntax.” Maus proposes that Propp’s idea of “thirty-one
[narrative] ‘functions’, as a normative succession to which individual folktales conform,” can be directly related to the structure of classical rondo or sonata forms.27
Acknowledging the possible objections of music theorists to this relationship, Everett states:
“First, the analogies depend on conventional descriptions of musical form, and
much recent theoretical work rejects these descriptions as superficial. Second,
more specifically, conventional descriptions of musical form obscure the
hierarchical nature of musical structure […] An analogy between musical and
narrative structures need not depend on an acceptance of conventional
descriptions of musical formal patterns [...] Schenker, bypassing the
conventional formal types, offers a paraphrase of his own late theory in story-
like terms: ‘In the art of music, as in life, motion toward the goal encounters
obstacles, reverses, disappointments, and involves great distances, detours,
expansions, interpolations, and, in short, retardations of all kinds. Therein lies the
source of all artistic delaying, from which the creative mind can derive content
that is ever new. Thus we hear in the middleground and foreground an almost
25 Fred Everett Maus, “Music as Narrative.” Indiana Theory Review Vol.14 (Spring and Fall of 1991): 1-34.
26 Vladimir Propp, Morphology of the Folktale (Texas: University of Texas Press, June 1968)
27 Maus, “Music as Narrative,” 2. 10 dramatic course of events.’ [...] Some theories of narrative, unlike Propp’s,
hierarchize plot events much as recent theories, most importantly Schenker’s
theory, hierarchize musical events.”28
Following this idea of musical hierarchy, Maus brings in the audience’s perception and states that: “Listeners can hear musical successions as story-like because they can find something like actions, thoughts, and characters in music [...] Musical events can be regarded as characters, or as gestures, assertions, responses, resolutions, goal-directed motions, references, and so on.
Once they are so regarded, it is easy to regard successions of musical events as forming something like a story, in which these characters and actions go together to form something like a plot.”29 These musical events could be motifs, recognizable harmonic progressions, and, more often than not, learned musical tropes. As history progressed the relationships between music and associations solidified. The use of a flute playing a trill or an arpeggio to imitate a bird was naturally translated into the affect of flying or the wind. It is these sorts of affective associations that become known as tropes in film music. The direct association helps the audience quickly identify an affective response, and attach it to their understanding of the film’s narrative.
Maus continues: “Instrumental music consists of a series of events, and the easiest anthropomorphism is to treat those events as behavior, as actions. Once one begins thinking of musical sounds as actions, rather than just events, the notion of plot or narrative is close at hand.
Stories are primarily about human actions, and the story teller's integration of events into a plot
28 Maus, “Music as Narrative,” 4.
29 Ibid., 6.
11 reflects the need to understand actions by placing them in a temporally extended context.”30
Considering Maus’ assertion that unconventional musical forms relate directly to literary narrative, and that musical events should be seen as actions, we may conclude that the storytelling of a film score resides, not only in tandem with the film, but within the music itself.
Looking at the famous Imperial March by John Williams (Star Wars: The Empire Strikes Back,
George Lucas 1980), the use of a march, paired with the heavy use of brass and the incessant drum corps, and the constant minor third relation immediately conveys a serious and menacing affect. By using an A-B-A structure, Williams attaches a clear narrative to the piece itself, thus giving the music a narrative life beyond that of the film. However, often cues are too short to convey narrative on their own and only exist to enhance the film’s narrative by underscoring the scene.
It most be noted that not all writers agree with Maus. In the article Narrative Film Music,
Claudia Gorbman writes that “the moment we recognize to what degree film music shapes our perception of a narrative, we can no longer consider it incidental or ‘innocent’.”31 Gorbman brings attention to the lack of narrative in film music itself, and outlining how often the focus is
“on the narrative and the visuals of the screen before us,” and “we forsake any consideration of
[...] music because it is nonrepresentational and non-narrative, and does not inhabit the perceptual foreground of the narrative film.”32
30 Ibid., 7.
31 Claudia Gorbman, “Narrative Film Music.” Yale French Studies, No.60 Cinema/Sound (1980), 183.
32 Ibid., 184.
12 Gorbman writes that it is possible to “see music as 'meaning' [...] on three different levels in any film.”33 To explain these levels Gorbman presents the following scenarios:
“If we actively listen to a Bach fugue, we are listening to the functioning of
pure musical codes […]. The Bach fugue playing at a coffee house, while people
interact with each other functions more in its cultural context; it refers to cultural
musical codes (and elicits enculturated reactions). For example, the music that
plays while a film's credits unroll—jazz, pseudo-classical, Wagnerian, folk—
activates these cultural codes, and can reveal beforehand a great deal about the
style and subject of the narrative to come. Third, music in a film refers to the
film—that is, it bears specific formal relationships to coexistent elements in the
film. The various ways in which it does so shall be called cinematic musical codes
[...].”34
To justify the use of music in film, Gorbman goes back to silent film and the need for music to communicate “narrative information that has been since restored to the providence of dialogue and sound effects.”35 However, why do we still need music in film? Gorbman contends that music works “as mediation: between film and older dramatic traditions, between spectator and circumstances of projection, between spectator as a living being and the cinema.”36 She continues:
33 Gorbman, “Narrative Film Music,” 184-85.
34 Ibid., 185.
35 Ibid.
36 Ibid., 186. 13 “Jean Mitry maintains that the rhythm of music mediated between real time
as experienced by the audience and the diegetic or psychological time adhered to
by the film: 'Owing to its unrealistic nature, the silent film was incapable of
making the spectator experience a real feeling of duration. The time lived by the
characters of the drama, the temporal relations of the shots and sequences - all this
was perfectly well understood - rather than felt. What was missing in the film was
a sort of beat which could internally mark the psychological time of the drama in
relation to the primary sensation of real time. In other words, what was missing
was a beat capable of justifying cinematic rhythm and cadence. This beat [...] was
provided by music.'”37
Exploring the “social functions of music,” and how it creates “a feeling of collectivity or communality,” Gorbman suggests that “whatever music is applied to a film segment will do something, will have an effect—just as whatever two words a poet puts together will produce a meaning different for that of each word separately [...] Image, sound effects, dialogue, and music-track are absolutely inseparable during the viewing experience, and they form a combinatoire of expression.”38
In film, Gorbman points out, the only element that is potentially both diegetic and nondiegetic is music, thus traveling freely between the audience and the story. Sometimes the music becomes part of the action, guides the audience through the action, or provides subtext.
She explains: “Once we understand the flexibility that music enjoys with respect to the film
37 Gorbman, “Narrative Film Music,” 186.
38 Ibid., 189.
14 diegesis, we begin to recognize how many different kinds of functions it can have: temporal, spatial, dramatic, structural, denotative, connotative - both in the diachronic flow of a film and at various interpretive levels simultaneously.”39
Regardless the question remains: What makes nondiegetic music work in a film?
Gorbman presents this answer: “The status of music as non-verbal and non-denotative allows it to cross all the varieties of ‘borders’: between levels of narration (diegetic/nondiegetic), between narrating agencies (objective/subjective narrators), between viewing time and psychological time, between point in diegetic space and time (transitional functions).”40 Filmmakers bridge those two levels and connect with the audience through musical narrative that includes both its own narrative, and the film’s narrative. This musical narrative is created by musical associations, which induce a learned reaction in the audience.
Gorbman goes on to discuss the different narrative levels of film music: “We might persist in enumerating other types of continuity that music can promote: thematic, dramatic, rhythmic, structural, and so on. In each case music functions as connecting tissue, a non- representational provider of relations, among all levels of the narration. One area that invites extensive exploration is the function of music with respect to the point of view: for it can mark shifts in point of view, or it can assure, a continuous, often narratively ‘illogical’, progression from one viewpoint to another.”41 One way composers play with the illogical narrative is by attending to the film’s narrative, utilizing a clashing musical one (e.g. a dissonant and eerie
39 Gorbman, “Narrative Film Music,” 196.
40 Ibid., 203.
41 Ibid., 202.
15 aleatoric piece against an intimate moment between two lovers). At the center of this musical narrative we find musical tropes—recognizable emotional and musical cues that guide or deceive the audience in their appreciation and apperception of the greater narrative.
16 CHAPTER II: TROPES & PROGRAMMATIC MUSIC
MUSICAL TROPES
After covering the nature of affect and musical narrative we turn to the main subject in this dissertation: tropes. The use of this term in music is closely related to its application to language. As defined by the Oxford English Dictionary, the term trope means: “To represent or interpret (something) in a figurative or metaphorical way. Now chiefly: to express or depict (an image, idea, etc.) figuratively, esp. as a literary motif.”42
For the purposes of this dissertation, we will define tropes as musical signifiers that have become conventional, be they harmonic progressions, melodic contours, instrumentation or the use of folk elements. Just as in literature, these signifiers have become musical representations of
‘something’ (e.g. affect, actions, geographical location, cultural identity, etc.). Tropes can be separated into two categories:
1) Innate: These are musical signifiers that we react to on a visceral level. These reactions
and associations can be attached to rhythm, harmony, dissonance, timbre, frequency and
articulation. For example: associating dissonance or constant rhythm with tension and
movement, respectively.
2) Learned: These are the tropes that have been passed on throughout history, and that we
learn through culture and exposure. Learned tropes can be associated with
42 "trope, v.". OED Online. Oxford University Press, accessed on March 20, 2016, http://www.oed.com/view/Entry/206680?rskey=Tek6Ig&result=2&isAdvanced=false
17 instrumentation, melodic contour, intervals, harmony, rhythm or a combination of them.
There are three different parameters that could justify a trope being cultivated:
● Musical/narrative associations that have become conventional. For example:
associating brass in fifths with heroism, nature or royalty.
● Association of historical period, geographical location, or cultural identity. For
example: utilizing Gregorian chant to create an association with Christianity
during the medieval era, or utilizing an erhu or a sitar to elicit a certain “ethnic”
music feel.
● Associations created by a piece of music that become so embedded in society,
they end up eliciting a specific affective reaction. For example: The two note
motive in John Williams’s score to Jaws signifying imminent danger (or more
specifically a shark), or the opening notes of Beethoven’s Symphony No.5 being
identified in popular culture as “fate knocking on the door.”
While learned tropes make use of innate tropes, the latter don’t always result in the former. In film music, the use of both of these tropes is necessary to convey both diegetic and non-diegetic narrative.
In Chapter I, it was discussed that Aristotle speaks of the affective associations of different modes and instruments, and Mattheson of the affective associations of dances and key signatures. Though not necessarily tropes, these affective associations would still fit the literary definition of the word. Following that line of thought, and looking at the nature of narrative in music (whether programmatic or not), one may conclude that tropes are utilized to create an affective association that could result in or helps drive a musical narrative. It is that narrative,
18 functioning through tropes, that helps guide the performer and listener to interpret and understand the affective intent of the music.
Robert S. Hatten makes an effort to analyze music through a performer’s perspective. 43
He discusses three different musical devices:
1. Musical Gestures: “Musical gestures, as reconstructed from a score and a performing
tradition, are significant, expressive, and energetic shapings through time. They often
highlight such neglected parameters as pacing, dynamics, and articulation, while
synthesizing these with the more typically analyzed parameters of rhythm and meter,
melody and motive, harmony and tonality, phrase structure and form. A musical gesture
may arise spontaneously and then function thematically, dialogically, rhetorically,
topologically, or in some interesting combination of these roles.”
2. Topics: “Topics are characteristic figures, dances, marches, genres, textures, or even
entire styles that are imported, along with their general expressive correlations, into a
larger work, in which they are then contextually interpreted, often as part of the dramatic
trajectory, or what I call expressive genre, of that work.”
3. Tropes: “Tropes are interactions or fusions of disparate, at times even incompatible,
stylistic types (including gestures and topics) that are superimposed or juxtaposed in a
single functional location, where they propose creative meanings that emerge from their
contextual interaction.”44
43 Robert S. Hatten, “Performance and Analysis—or Synthesis: Theorizing Gesture, Topics, and Tropes in Chopin's F-minor Ballade,” Indiana Theory Review 28 (2010): 45–66.
44 Hatten, “Performance and Analysis,” 66.
19 We must note that Hatten’s definition of tropes is limited to the use of ‘stylistic types,’ leaving out many other parameters that could be considered to constitute a trope (indeed, what he labels “topics” may also be characterized as “tropes” according to the definitions we have discussed earlier). However, Hatten concludes that gestures, topics, and [his definition of] tropes
“may be seen to coordinate with tonal, thematic, and phrase structures in a way that synthesizes
45 their motivated energies and humanizes them as forms of expressive significance.”
The importance of tropes in film music now begins to become apparent. Jessica Green argues that it is the “tendency of audiences to use the score as a tool for understanding the meaning of other channels of information that makes film music so integral to the film-viewing experience. When using the music to help determine the meaning, the audience becomes less questioning, and more accepting, of what is happening on screen.”46 The reaction of becoming
‘less questioning, and more accepting,’ of the actions on the film is called “suspension of disbelief.” Different narrative levels of film music, as previously discussed through Gorbman, generate affective associations that contain recognizable musical gestures and (Hatten) topics.
The associations provided by tropes (hereafter understood as defined earlier in the dissertation and not Hatten’s definition) are the most useful tool in weaving a musical narrative that gives extra-visual meaning to the action on screen, as they elicit specific affective reactions and musical signifiers the audience can quickly recognize, either consciously or subconsciously.
But where do film music tropes come from? To answer that question we briefly look at the history of programmatic music.
45 Hatten, “Performance and Analysis,” 63.
46 Jessica Green, “Understanding the Score: Film Music Communicating to and Influencing the Audience,” Journal of Aesthetic Education 44 (2010): 84.
20 PROGRAMMATIC MUSIC
Instrumental music in the Baroque & Classical eras
With the development of opera and the rise of instrumental music during the late
Renaissance, composers started finding themselves more driven by musical narrative. During the
Baroque, composers like Jean-Philippe Rameau, wrote innovative orchestrations in the “pure” music sections of his operas to convey narrative and affective associations. His overtures, ritornellos, and instrumental interludes use orchestration to depict storms, earthquakes and other natural phenomena. Most famous is his depiction of chaos during the creation of the universe in the overture to his ballet Zais (Figure 1.1).
Figure 1.1: Jean-Philippe Rameau, Overture from Zais, RCT 60
(score excerpt, mm. 36-39)
21 In the excerpt above we can see chaos in the use of diminished seventh chords, and fast harmonic progressions being arpeggiated in the strings, against the muffled drum roll, and the double reeds playing diminished seventh chords. The continuous pulse of the base line, the measured drum rolls and the dropping strings elicit a musical association that helps convey the narrative.
The affective associations established in this piece by Rameau may not have become tropes, but the nature of his orchestrations, and the musical devices he used to achieve the effects he desired, relied on musical conventions (like the use of sequential diminished sonorities to symbolize chaos) to achieve the desired narrative.
With the emergence of ‘absolute music’ during the 18th Century, composers were more concerned with musical narrative equating formal structure. However, the absence of program did not result in a lack of trope development. Tropes associated with certain instrumentations or harmonies had been present for centuries—for example, the use of a trombone choir to signify death, the tritone as the devil’s interval, or even the use of instrumentation and harmonic language to convey different nationalities of musical style. Mattheson’s ideas regarding the affective associations of dances and key signatures were a popular topic of the era, even though they were not necessarily applied by the composers of the time. Exceptions were found, like
Vivaldi’s famous Four Seasons, stemming from a long tradition of programmatic music and establishing tropes (e.g. the use of trills played sul ponticello to convey the ‘icy wind’ at the beginning of The Winter) within the work.
In the Classical period, with the rise of the symphony and the string quartet, we begin to see tropes based on instrumental association utilized. An example of this is the use of cymbals or
22 triangles to depict Turkish music, as used by Beethoven and Mozart. Earlier on, the famous Toy
Symphony: Cassation (attributed to either Joseph Haydn, Leopold Mozart, or others), utilized children toys in its orchestration to imitate birds and soldiers.
On the other hand, narrative associations were also present. Beethoven writing a lengthy title, and the several expressive markings with affective connotations for the Cavatina of his
String Quartet Op.130 is a clear example of programmatic intent. With this in mind, one may contend that the narratives hidden within sonatas, quartets and symphonies of the period went beyond a narrative dictated solely by the form of the piece.
Beethoven was at the forefront of utilizing programmatic titles for instrumental music, like the “Eroica” Symphony No.3 and the “Pastoral” Symphony No.6. While titles like these may not always signify a specific program, it is clear that Beethoven intended a specific affective association. As he moved towards his later symphonies, Beethoven started to embrace the use of a program in his music. His “Pastoral” Symphony No.6 included a clear program, depicting life in the countryside and a storm. This symphony included descriptive titles for each movement, guiding the musical narrative.
It has been said that Beethoven is the first Romantic composer, a belief perpetuated by statements like the following one written by R.W.L. Mendl: “[Beethoven] himself declared that he always worked to a picture, but probably he meant by those words merely that his compositions were not absolute music in the true sense of the term.”47 Whether or not this is true, a few other composers began to assign affective titles to their symphonies and create a narrative
47 R. W. S. Mendl, “Beethoven as a Writer of Programme Music,” The Musical Quarterly 14 (1928): 172–77.
23 closely related to them. A good example of this is Mendelssohn’s Italian Symphony No.4, which includes a clear program and a tarantella in the final movement.
During the mid-to-late 18th Century, composers came under the sway of the Sturm und
Drang movement (which was present in Hayden and some of Mozart’s work). Later on, in the
19th Century, the idea of the composer/artist as a hero became a common narrative. As programmatic music became more popular, the use of literary narratives began to emerge.
The Tone Poem
Given that musical narrative associated with an external source is the essence of film music, the most important genre of programmatic music to explore in this dissertation is the
“tone” or “symphonic poem.” In a different article, Mendl discusses the definition of a symphonic poem:
“By ascribing the term ‘symphonic poem’ to an orchestral composition based on
any subject which also has an existence apart from music, we are employing a
very wide definition, though it is hard to see how we can narrow it down without
excluding such a work as Bax's ‘November Woods’, which relates to no definite
pictorial scene but is descriptive of any woods in late autumn, and yet is
undoubtedly a symphonic poem. The wideness of the definition admittedly
includes music which is simply expressive of generalized emotions, seeing that
the latter exist independently of music. There is, however, really no reason why
such a composition should not be called a symphonic poem, provided that its
24 structure is determined by the subject-matter rather than by the traditional forms
of musical art. The term would be applicable, for instance, to a work which is
given by its creator the title of ‘Anger’ or ‘Sorrow’ or ‘Love’ and is intended to
portray one of those emotions, and which, whether or not it possesses a thematic
unity, follows the dictates of its own subject- matter and, as it were, generates its
own structure, instead of adhering to one of the purely musical forms such as that
of the first movement of a sonata, or a fugue, or a theme and variations. It would
be illogical to withhold the title ‘symphonic poem’ from such a work, while
applying it to ‘November Woods’; for the only genuine distinction between them
is that the latter depicts a piece of the material world, whereas the composition
which we have visualized relates to the emotional sphere, and this difference
affords no ground for calling the one a symphonic poem and the other not.”48
As evidenced by Mendl’s description, symphonic poems and film scores rely mostly on affective associations rather than formal structures. With the advent of talking pictures, composers like Max Steiner (considered the “father of film music”) were heavily influenced by the symphonic poem tradition of his godfather Richard Strauss.49 The affective associations created by symphonic poem composers influenced film music so much that several film music tropes find their roots in this musical form.
It is also important to recognize the clear influence of opera in film music, more specifically through the use of leitmotif. This compositional tool is imperative in film music, as it
48 R. W. S. Mendl, “The Art of the Symphonic Poem,” The Musical Quarterly 18 (1932): 443–62.
49 Michael Long, Beautiful Monsters: Imagining the Classic in Musical Media (Berkeley: University of California Press, 2008), 81.
25 guides us through the character’s journey and, on occasion, the deconstruction of the leitmotif can signify an important narrative shift. Considering Wagner’s use of the leitmotif, and the larger-than-life quality of his operas, it comes as no surprise that his music and use of this technique influenced several film composers. In recent history, the film scores for The Lord Of
The Rings trilogy by Howard Shore not only emulated Wagner, but also heavily relied on the use of leitmotifs to hold the narrative of the lengthy film epic together.
To explore this relationship, and dive into the use of affective association in programmatic music, the following pages present an affect-driven analysis of two symphonic poems: Franz Liszt’s Prometheus, and sections from Richard Strauss’ Also Sprach Zarathustra.
26 CHAPTER III: MUSICAL ANALYSIS
FRANZ LISZT - PROMETHEUS, SYMPHONIC POEM No.9, S.99
During his Weimar period, Liszt was working on an homage to literary figures such as
Goethe with his Faust Symphony, Schiller with the symphonic poem Die Ideale, and setting eight choruses to Heder’s theatre work Der entfesselte Prometheus (Prometheus Unbound cantata).50
John Williamson writes, “the appeal of Herder’s play to Liszt almost certainly lay in its symbolic richness […]. This gave him the opportunity for a series of choral movements moving between
‘suffering and apotheosis’, qualities that he singled out as the key to the figure of Prometheus in his preface to the symphonic poem derived from the overture.”51 Liszt never published the original version, and in a revision in 1855, the overture was re-imagined as the symphonic poem known as Prometheus.
The ‘suffering and transfiguration’ narrative of Prometheus is very apparent in the way
Liszt treats its material. The father of the Symphonic Poem, Liszt utilized several motifs and ideas from the choruses when creating the symphonic poem. In his doctoral thesis, Keith Thomas
Johns writes: “the Prometheus legend is reinterpreted by Liszt in terms of the suffering artist figure, so popular in the 19th century, and suffering and salvation as a central doctrine of the
Roman Catholic Church.”52
50 Alan Walker et al., "Liszt, Franz." Grove Music Online. Oxford Music Online. Oxford University Press, accessed April 20, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/48265pg15
51 John Williamson, “The Revision of Liszt's ‘Prometheus’,” Music & Letters 67 (1986): 381–90.
52 Keith Thomas Johns, “A Structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt,” (PhD Diss., University of Wollongong, 1986), 10 27 The$Motives
$ Prometheus*utilizes four motives from the original choral work and one new motive as affect agents to drive the narrative forward.
Motive 1 (M1): Malediction (Figure 2.1)
Taken from the cantata, a “Choir of the Okeanidai” calls forth curses upon Prometheus.
This motive is present in two different iterations in bars 4-6 (M1a) and 84-87 (M1b).53
Figure 2.1a: Franz Liszt. Prometheus, Symphonic Poem No.9, S.99
(piano reduction, mm.1-6)
Figure 2.1b: Franz Liszt. Prometheus, Symphonic Poem No.9, S.99
(score excerpt, mm.84-88)
Motive 2 (M2): Suffering/Struggle (Figure 2.2)
As is common in Liszt’s Suffering/Struggle54 motives, the use of a diminished seventh and a chromatic melodic outline is present. We first hear a single developed iteration of the
53 Johns, “A Structural Analysis,” 107.
28 motive in the violins and violas at the end of the second section in mm. 22-25 (M2b), while the first real presentation of the motive comes in mm.48-49 (M2a).
Figure 2.2: Prometheus, cont. (score excerpt, mm.48-49)
Motive 3 (M3): Lament (Figure 2.3)
Appearing in the third section of the cantata, this lament is sung by a contralto solo in the
“Choir of the Dryades.” Marked “to be declaimed with tragic pathos,” the tritone leap followed by a chromatic line give the motive the quality of a lament. It first appears in mm.28-31 (M3).55
Figure 2.3: Prometheus, cont. (piano reduction, mm.28-37)
55 Johns, “A Structural analysis,” 108.
29 Motive 4 (M4): Faith and Redemption (Figure 2.4)
Shifting into a narrative of redemption, this motive is found in the seventh section of the cantata, sung by the “Choir of the Invisibles.” The symphonic poem program for this section reads: “an inalienable belief in a redeemer who will raise up the long tortured prisoner to the super-terrestrial regions (…).”56 We first hear it in mm. 129-137 (M4).
Figure 2.4: Prometheus, cont. (score excerpt, mm.129-26)
Motive 5 (M5): Celebration of Humanity (Figure 2.5)
Found in the final section of the cantata, this motive is turned into a fugue subject in the symphonic poem. It seems fitting that Liszt would utilize a fugue as a representation of the celebration of humanity. Keith Thomas suggest the suggest the fugue represents “the human spirit ‘striving for the loftiest goals’.”57 The fugue subject begins on the pickup to mm. 161-164
(M5s), and the countersubject starts on mm. 165-168 (M5cs).
56 Johns, “A Structural analysis,” 109.
57 Ibid.
30 Figure 2.5: Prometheus, cont. (score excerpt, 161-66)
Keith Thomas states that Prometheus “presents two contrasting ideas: i) the Sturm und
Drang [Suffering and Struggle] of motives one and two, and the lament of motive three; ii) the contrasting ‘sweetness’ expressed in motive four and […] five.”58
Structure
Prometheus is structured in eleven sections. The seventh section starts a recapitulation of previous sections, and the eleventh section is the CODA of the piece. Below is an analysis of each section focusing on affective function (assigned by Liszt), which motives are used, harmonic movements and narrative qualities.
In Chart 1, we can see the proportions of the sections and the use of different motives throughout each section. The stripped sections represent where two or more motives appear simultaneously or interact with each other. These sections have been color coded by combining the colors assigned to the individual interacting motives.
58 Johns, “A Structural analysis,” 110-11.
31 Chart 1.
32 Section 1: mm.1-26
● Function: Introduction, Malediction ● Motives: M1 & M2 ● Key: No clear tonal center in this section.
In Section 1a (mm.1-12), the use of the ‘malediction’ motive (M1) is similar to the one used by Liszt in his piano concerto titled Malediction, S.121. Both pieces use the same chords, with a pedal point moving from F (mm.1-16) to F# (mm.7-12). These first 12 bars have a dominant quality and never resolve. Moving into Section 1b (mm.13-26), Liszt continues the harmonic ambiguity by continuing an unresolved harmonic progression: Cm - Abm - Ab- C#m -
G#dim.7th chord.
Keith Thomas argues that this section, which functions as a harmonic anacrusis,
“constructs a typical Lisztian introduction with sequence and suspension of key center. The suffering and struggle of the music is reflected in the chromatic harmony and the suspension achieved by the use of the diminished-seventh chord as a key center. This suspension is not resolved in the following section.”59
Section 2: mm.27-47
● Function: Lament ● Motives: M3 ● Key: Implied A minor
The diminished quality of the M3 motive, and the diminished-seventh accompanying harmonies in this section, give an unstable A minor feel. This perceived tonal center is challenged by the second iteration of the melody, reinforced by the recurring G#dim.7th
(vii○7/Am) in the woodwinds, and later in the horns and trumpets.
59 Johns, “A Structural analysis,” 115.
33 The use of a melodic tritone in this section utilizes the trope that associates it as the
Devil’s interval, thus making the narrative to “abandon all hope.”
Section 3: mm.48-115
● Function: Struggle and Lament ● Motives: M2 (mm.48-77), M1 (mm.78-101), M2+M3 (mm.102-115) ● Key: Implied A minor
This section begins by continuing the relentless use of G#dim.7th (now with an E pedal in the first bar of the section) and finally, on the second bar of the section, we hear a clear A minor chord on the downbeat. However, the chord is presented on a weak measure in second inversion, creating a weak resolution, and keeping the chaotic essence of the music going. M1a comes back without transposition in the trombones at mm.78, and finally leads to M1b in a clear A minor 7th in second inversion in the strings and bassoons. The section ends with a call and answer between motives M2 (Suffering/Struggle) and M3 (Lament). In this section, Liszt creates musical narrative through two devices:
1) Foreshadowing of M4 (Faith and Redemption) in mm.58 in the clarinets. 2) The falling line in the woodwinds and horns in mm.62, and the runs in the flutes in mm.63 having similarities with the pick-up to the fugue subject.
Section 4: mm.116-128
● Function: Lament Transition (Ritornello) ● Motives: M3 ● Key: Emphasis on vii○7/Db
This section serves as a transition to the Redemption section of the Symphonic Poem.
Utilizing material from the Lament motive (M3), and foreshadowing the Redemption motive
(M4) through similar contour and rhythm, Liszt prepares us for a section in contrast to the harmonically unstable music heard so far.
34 Section 5: mm.129-160
● Function: Faith and Promise of Redemption ● Motives: M4 ● Key:Db major
Finally releasing the harmonic tension Liszt arrives on Db major, but instead of starting on the tonic chord, he begins the section on VI6 (mm.129), thus delaying arrival of the tonic and transforming the previous section into a secondary dominant section. The oscillation of the melody and harmony between IV6-V6 finally resolves to a much needed I in the second phrase of the melody (mm.133). Using E major for some chromatic coloring through tonicization in the last iteration of the melody, he prepares us for a perfect cadence into the fugue.
Section 6: mm.160-236
● Function: Fugue – Man striving for bigger goals and the need to create. ● Motives: M5 9 ● Key: Db major (mm.160); A major (mm.206), String of V chords D-E-F#-E (mm.214)
This section is the longest one in the piece. In it, Liszt presents the fugue subject in all the sections of the strings. After fragmentation in mm.181, and false subject entrances, we get a confident augmentation of the subject in mm.198 in the woodwinds and horns, accompanied by the strings playing a fragmentation of the original subject.
In mm.206 Liszt inverts the roles of the orchestra during augmentation section (the strings now play the subject, and the woodwinds the fragmentation of the subject). Followed by a series of fragmentations in mm.214, a sequence of V9 chords leads to the well known diminished qualities of M2, which comes back in mm.226.
This time in mm.225-236, preparing us for the ‘Recap,’ Liszt combines M1
(Malediction), M2 (Suffering/Struggle) and M5 (Celebration of Humanity) by using fragments of
35 each theme. Keeping M2 as the main motive of the section, thus emphasizing the struggle narrative of the piece.
Sections 7-10: mm.237-384
● Function: Recapitulation Sections 1 (mm.237-249), 2 (mm.250-268), and 3 (mm.269-303), and 4+5 (mm.304-390) ● Motives: All motives.
This section is a recapitulation of the music from all the previous sections presented, in a more exciting and dramatic way (except for Section 2, which maintains its recitativo quality).
Section 10 combines the motives M4 and M5, first presenting them separately, then combining them by using fragmentation of both motives and culminating in an iteration of M1, interrupted by M5, all to transition into the CODA.
Section 11: mm.391-443
● Function: CODA ● Motives: M1 and M5 ● Key: Dominant progressions culminating in A major.
Utilizing the dichotomy between motives M1 (Malediction) and M5 (Celebration of
Humanity), the CODA brings the piece to a majestic conclusion. With a last iteration of M4 in the brass overpowering the other motives, Liszt ends the piece with a glimmer of faith and redemption
Like film music, tone poems rely on emotional cues conveyed through musical associations to present a narrative. Without knowing the program of the piece or the original motives, we can follow a narrative that depicts the struggle that is a common subject matter in the Symphonic Poem. Liszt is able to guide the listener through this narrative by utilizing the following musical devices:
36 - Tropes established by Liszt: by using the “Malediction” trope he established with
his piano concerto, Liszt relies on the motive to elicit a sense of urgency. The F#
tremolo pedal juxtaposed with the staccato presentation of the motive in E minor
present the narrative of conflict immediately by using this two contrasting elements.
- An ambiguous tonal center: by prolonging the use of diminished 7th chords and
delaying the arrival of a clear tonic for several minutes of music, we can feel the
struggle and tension embedded in the musical narrative of the piece. Liszt hints at key
areas but never lands on one until the Faith and Redemption section, which is the first
“positive” and more lyrical music we hear in the piece.
- By going back and forth between the sections of Struggle and Lament, Liszt helps
convey the dichotomy of the piece. Using the Lament section as a sort of ritornello
that links the Struggle section with the Redemption section.
The use of these musical devices to convey narrative without using traditional forms
(e.g., Sonata, Rondo, etc.), is similar to how film music utilizes tropes. As with Liszt, the idea of the composer as a hero and the ultimate redemption of humankind was a trend amongst symphonic poem composers. One of the most prominent pieces of the genre is Richard Strauss’
Also Sprach Zarathustra. A staple of the symphonic poem repertoire, the piece also portrays a narrative of redemption and enlightenment of humankind.
37 RICHARD STRAUSS - ALSO SPRACH ZARATHUSTRA, Op.30
Though Liszt is the father of Symphonic Poems, Richard Strauss is considered one of the most prominent composers of the genre. Based on Friedrich Nietzsche’s book of the same title,
Also Sprach Zarathustra is arguably Strauss’s best-known work. Recognizable as the musical score for the opening of Stanley Kubrick’s film 2001: A Space Odyssey, the piece since has been used in several films and sporting events ever since. Unlike other Symphonic Poems, the narrative of Also Sprach Zarathustra is loosely related to the book. Charles Yuman notes:
“Strauss’s sensitivity to the distinction between and artwork’s public and
private dimensions needs to be borne in mind when confronting a work like Also
Sprach Zarathustra, which marked the ending of a lengthy and traumatic
emergence into artistic maturity.”60
Regardless of the subtitle of the piece, which states the work was ‘freely based’ on
Nietzsche’s work, Strauss often found himself denying composing “philosophical” music. He explained:
“I meant rather to convey in music the idea of the evolution of the human
race from its origin, through the various phases of development, religious as well
as scientific, up to Nietzsche’s idea of the Übermensch. The whole symphonic
poem is intended as my homage to the genius of Nietzsche, which found its
greatest exemplification his book Also Sprach Zarathustra.”61
60 Charles Youmans, “The Private Intellectual Context of Richard Strauss’s ‘Also Sprach Zarathustra’,” 19th- Century Music 22 (1998): 102.
61 Henry T Finck, Richard Strauss: The Man and His Works (Boston: Little, Brown and Company, 1917), 181. 38 The main narrative of the symphonic poem is the conflict between the way man lives in society and the way man was naturally intended to live. To convey this narrative, Strauss assigns the key areas of B and C to Man and Nature, respectively. In the vein of the Wagnerian leitmotif,
Strauss utilizes motives to portray different aspects of Man and Nature.
The Motives
Music critic Arthur Hahn prepared a guide for the piece under specifications from Strauss himself. In this guide, Arthur Hahn identified seven different motifs.62
Motive 1 (M1): Nature (Figure 3.1)
First presented in the opening of the piece by the trumpet fanfare (mm.5). Joseph Arno suggests that this motive “can be thought of both as a representation of nature itself and of Man’s potential when he embraces his true nature and attains the status of Übermensch.63 The use of a perfect fifth and a perfect fourth interval is reminiscent of the harmonic series and thereby represents the natural order.”64
Figure 3.1
62 John Williamson, Also sprach Zarathustra (New York: Cambridge University Press, 1993), 2-3.
63 Ubermensch is the philosophical concept of the ideal human or “superman,” presented by Nietzsche.
64 Joseph L. Arno, “Zarathustra as Superman: Reading the Nietzschean Narrative in Also Sprach Zarathustra” (Thesis, University of North Carolina, 2014), 32.
39
Motive 2 (M2): Longing (Figure 3.2)
This motive is the first music we hear after the opening of the piece. The motive first appears fragmented in the bassoons, followed by the first full iteration in the low pizzicato strings (mm.30), the motive leads into the Credo motive. The upward contour of the motive represents Man’s longing for greatness. Man may reach his full potential and become the
Ubermensch by fulfilling his longing through the pursuit of religion.
Figure 3.2
Motive 3 (M3): Credo (Figure 3.3)
Figure 3.3
Motive 4 (M4): Religion (Figure 3.4)
As the response to the Longing motive, the Credo motive is presented in the muted horns
(mm.32) with the inscription “Credo in unum deum” written above the motive. Together with the
Religion motive, first heard in the violas (mm.35), these motives represent religious ideals and are modeled after plainchant from the Liber Usualis and hymns from the Christian rite.
Figure 3.4
40 Motive 5 (M5): Life Urge (Figure 3.5)
Introduced in the cellos and basses under an iteration of the Religious motive (mm.95), through its fast and exciting ascent, this motive represents Man striving to be independent through creativity, and to achieve liberation.
Figure 3.5
Motive 6 (M6): Passion (Figure 3.6)
As evidenced by the name, this motive presented in the violins and horns (mm.115), represents the enthusiasm and passions that make each person an individual. The dramatic quality of the motive, through its chromatic passing tones and upward motion, is juxtaposed with a development of the Life Urge motive (M5).
Figure 3.6
Motive 7 (M7): Virtue (Figure 3.7)
In contrast to the Passion motive, the Virtue motive is a representation of the values each individual holds. We first hear the motive in the high strings and woodwinds (mm.131).
Figure 3.7
41 Motive 8 (M8): Disgust (Figure 3.8)
This motive represents Zarathustra’s disgust with the world as seen by Nietzsche. The motive is first heard played by three trombones in unison (mm.150), breaking through the texture of the Virtue motive, and interrupting the uplifting romanticism of the music.
Figure 3.8
Motive 9 (M9): Science (Figure 3.9)
The Science motive symbolizes Man’s use of science in an attempt to explain the world.
The motive begins similarly to the Nature motive and utilizes all twelve pitch classes. While not a tone row, Strauss uses all twelve pitches with almost no repetitions while creating a triadic chromatic movement. We first hear this motive in the low strings (mm.201); it develops by imitation throughout the rest of the string section, and eventually the entire orchestra.
Figure 3.9
Motive 10 (M10): Dance Motive (Figure 3.10)
This is the last motive presented in the piece. The joyful dance quality of the motive, represents Zarathustra’s joy at the possibility of what Man could become, if mankind reached its full potential. Though the first real iteration of the motive is presented in triple meter (mm.528), the first time we hear it is in 4/4 softly in the woodwinds (mm.251).
42 Figure 3.10
Structure
Using these motives, and deriving most of the harmonic language of the piece from the motives themselves, Strauss creates a narrative that constantly focuses on the conflict between
Man and Nature. For the purposes of this dissertation, the focus will be on the first six sections of the symphonic poem. The narrative/affective analysis of each section will include the title given by Strauss, corresponding section in Nietzsche’s book, narrative function (including the chapter and section of the book), motives used, and general key areas. In Chart 2 we see the proportions of each section, the major key areas and the use of motives throughout.
Section 1: “Intro / Sunrise” (mm.1-21)
● Book section: “Prologue” ● Function: Zarathustra’s knowledge/sunrise ● Motives: M1 ● Key: C
The opening of the piece is a representation of Zarathustra’s knowledge and light shining on the world. This opening has become iconic thanks to the use of it in 2001: Space Odyssey, and has become a trope in pop culture. The use of the nature motive is consistent with the narrative presented by Strauss, and one that Kubrick stayed true to by opening his film with a shot of the sun rising over earth. Using a major/minor mode shift during this section, Strauss suggests the conflict that will become a constant theme in the narrative of the piece. This shift of
43 major to minor mode has become a trope of its own, often used for accentuating big moments in
Epic or Sci-fi films.
Section 2: “Von der Hinterweltern” (mm. 22-74)
● Book section: “Backworldsmen” (Part I, Ch. 3) ● Function: Man/Religion ● Motives: M2, M3, M4 ● Key: B and Ab major
Immediately after the opening, Section 2 corresponds to removing oneself from the world and being introspective about the nature of humanity. Strauss portrays the saint encountered by
Zarathustra as a backworldsman, because he chooses to remove himself from temptation in order to praise God. Immediately after the conclusion of the fanfare the music abruptly changes to pianissimo tremolo in the low strings, introducing the religion motive. This music portrays religion as something created by Man as opposed to Nature. The religion motive is first presented in Ab and then repeated in F, thus the music isn’t in Man’s key of B until the Longing motive is presented in mm. 30.
The Longing motive is used throughout the work to portray Man longing for a greater meaning. Interrupted by the Credo motive in the horns, the Longing motive disappears and
Strauss leads us into the main section of the Religion motive. The narrative of this section is made clear by the use of an organ in the orchestration. This section begins in Ab major, but tonicizes the keys of G, Eb, A, and E major. Rising to an intense climax the section leads into
“The Great Longing.”
Section 3: “Von der Großen Sehnsucht” (mm. 75-114)
● Book Section: “The Great Longing” (Part III, Ch. 58) ● Function: First evidence of conflict between man and nature ● Motives: M1, M2, M3, M4, M5
44 ● Key: B and C major happening simultaneously.
This is the first section to focus on the conflict that is present for the rest of the piece.
According to Nietzsche Man and Nature are incompatible. Section 3 connects two of the most identifiable sections of the piece, and the corresponding chapter from Nietzsche consists of
Zarathustra addressing himself through introspection and reflection.65 Zarathustra talks about how he has liberated his soul and achieved Übermensch. This section also speaks of Man longing for the reconciliation of the life he has built through religion and Nature.
The section begins with the use of the Longing motive in B minor (Man’s key) in the cellos and bassoons. As the melody is taken over by the violins and the violas, juxtaposed with the English horn playing the nature motive in C major (mm.82). In m. 86, the organ plays a new motive with the text “Magnificat,” this time referencing the prayer for Virgin Mary. Before the motive is over, the horns enter with the Credo motive followed by the Religion motive. There is constant use of bitonality throughout this section and, once the Life-force motive is introduced, a constant harmonic ambiguity signifying the motive’s narrative association with creativity. Using fragments of the Religion motive juxtaposed with the Life-force motive, Strauss travels through several keys and militaristic iterations of the Nature motive in the trumpets, thus representing the dominance of Nature over Religion. However, the Life-force motive (creativity) prevails in the end.
Section 4: “Von den Freuden und Leidenschaften” (mm. 114-163)
● Book section: “Joys and Passions” (Part I, Ch. 5) ● Function: Individuality through actualization in nature ● Motives: M6, M7, M8
65 Kathleen Marie Higgins, Nietzsche’s Zarathustra (Lanham, MD: Lexington Books, 2010), 99.
45 ● Key: C minor and Eb major
In contrast with the previous section, this section has a clear direction and depicts the
Nature of men. Joy and Passion are in contrast with Religion, and are the natural state of men.
This section relates closely to Nietzsche’s discussion about the importance of passions and virtues in becoming an individual.
Arno points out that “Leitmotifs play a significant role in the development of meaning in this section. While leitmotifs in Also Sprach Zarathustra represent ideas rather than characters, the expression of leitmotifs and the motion between key areas contributes to the tone poem’s meaning.”66 The Passion motive is first presented in the strings and horns in C minor and, with accompanied by the Life-force motive in the low strings and winds, remains in C for most of the first half of the section. The first phrase of virtue motive is in C minor, modulating to Eb major for the second phrase, using a common-tone diminished-seventh chord in m. 136. This represents the transformation of man through his passions and virtues. A string of secondary dominants in m. 148 begins a transition back to C minor to end the section, and the introduction of the Disgust motive in the trombones during this transition, represents the disgust that was aroused from the passions resulted in virtue. Once in C minor, Strauss quickly modulates to reach B minor for the next section. Note again, the juxtaposition of the Man vs. Nature / B vs. C key areas.
Section 5: “Das Grablied” (mm. 164- 201)
● Book section: “Grave Song” (Part II, Ch. 33) ● Function: Zarathustra’s viewing of his past in the world of men ● Motives: M2, M7, M7, M9
66 Williamson, “Zarathustra as Superman,” 46.
46 ● Key: B and E
As a reaction to the previous section, the juxtaposition of the Longing motive, the Passion motive and the transformation of the Virtue motive, “Das Grablied” ultimately represents Man’s quest to become a higher being: the Übermensch.
This section begins in B minor in contrast with the Natural side of the Passions and
Virtues of the previous section primarily in C minor. Beginning with a soft dynamic and building up to a transformation of the Virtue motive, Strauss finds brief reconciliation between Man and
Nature. This section acts as a reflection of the Passions and Virtues that lead man to seek enlightenment.
Section 6: “Von der Wissenschaft” (mm. 201-286)
● Book section: “Science” (Part IV, Ch. 75) ● Function: Man’s attempts to control nature through science ● Motives: M8, M9, M10 ● Key: C moving to B
This section is divided into two strikingly different subsections. The Science motive begins the section as a fugue, slowly progressing from C to B in an attempt to connect the conflicting key areas of Nature and Man. This contrasting section introduces a transformation of the Dance motive, juxtaposed with the Longing motive, ending with a large section of faster iterations of the Disgust motive.
Nietzsche’s section of the same name begins with a disagreement between Zarathustra and a musician. Another character interjects:
“For fear—that is man’s original and fundamental feeling; through fear
everything is explained, original sin and original virtue. Through fear there grew
also my virtue, that is to say: Science. For fear of wild animals—that hath been
47 longest fostered in man, inclusive of the animal which he concealeth and feareth in
himself: —Zarathustra calleth it ‘the beast inside.’ Such prolonged ancient fear, at
least become subtle, spiritual and intellectual—at present, me thinketh, it is called
Science.”67
This passage is the basis for Strauss’s approach in this section. Science is the way that men control the natural world around them. The beginning Fugue in the Science section, through the use of C and B key areas, represents Nature and Men together at work. As he moves into the second part of this section, Strauss uses the opening of the Science motive (which is the entire
Nature motive) to interject throughout the big section utilizing the Disgust motive. These interruptions of the Nature motive could signify nature trying to break through.
67 Friedrich Nietzsche, Also Sprach Zarathustra, trans. by Thomas Common (New York: Modern Library, 1905), 340.
48 49 ANALYSIS CONCLUSION
Throughout the analysis of both pieces, it is evident is evident that both composers rely on motives and the emotional cues created through harmony, form, style, and instrumentation, to help convey the desired narrative. Though we might not be able to define them as tropes, parallels between both pieces’ use of affective association and musical narrative can be found:
- The use of a fugue to convey man striving for enlightenment. The more sophisticated and
crafted form of the fugue is a representation of Mans ability to create through science.
The fugue in Prometheus utilizes a new motive as a fugue subject that has been
foreshadowed earlier in the piece and ends up interacting with the “Malediction” motive
and briefly triumphs over it. In Also Sprach Zarathustra Strauss chooses the Science
motive as the fugue subject and slowly pieces together a tutti through the different
entrances of the orchestra.
- Harmonic ambiguity to portray conflict. In Prometheus Liszt prolongs the use of a
diminished 7th chord to delay the arrival of a clear tonal center furthering the struggle
narrative of the piece; in Also Sprach Zarathustra Strauss utilizes the dichotomy between
the key areas of C and B to depict the conflict between Nature and Man respectively, as
seen in the first two sections of the piece.
- Stirring and chromatic melodic movement to convey the conflict and reconciliations
between contrasting emotions. In Liszt’s case the contrast between the arpeggiated strings
lacking any tonal center in the Struggle motif and the beautiful singing melody with a
clear tonic in the Redemption motif; in Strauss the Passions and Virtues motifs share
50 similar emotional string melodies, one moving upwards and the other one falling,
signifying a complementary quality between the two melodies and the two emotions.
Kubrick chose to keep the opening of Also Sprach Zarathustra, even though Alex
North had written a similar score. Strauss’s music became iconic, not only because of the
film, but because of the influence and narrative power embedded in the tradition of the
symphonic poem.
These two pieces present narratives that can be derived without knowing the composer’s narrative source. By establishing a clear function to the motives paired with the treatment of harmony and tonal centers, Liszt and Strauss guide the audience through the narrative. In both cases the composers present full iterations of most of their motives early in the piece, and the transformation and interaction of them create specific musical expectations. The opening section of Strauss elicits a sense of expectation by introducing a low pedal, followed by a declamatory melody trumpets missing the 3rd until it’s introduced in a quick modal shift by the tutti orchestra.
Similarly, the Life Urge motif on the cellos moves quickly upward to convey excitement and reaching upwards. These expectations elicit specific emotional reactions from the audience feeding off of pre-existing tropes and, in the case of Strauss, creating new ones. Programmatic music, along with opera, became the precursors of film music and the source of many tropes.
Some imposed by the composers of these works, others by the narratives associated with them.
51 CHAPTER IV: FILM MUSIC TROPES
THE “BIRTH” OF FILM MUSIC
With the commercialization of film, a new era of entertainment was born. Audiences were accustomed to opera, musical theater, concerts and theatre productions that often included musical accompaniment. Opera productions of Wagner, Verdi and Puccini had created an expectation for spectacle and larger than life music, and as film developed the same scope of entertainment was expected. It is no wonder that the natural progression of film music was informed by the music heard in concert halls and opera houses around the world.
Early showings of silent film always included live musical accompaniment. The music was improvised, and the musicians would have to create emotional ‘cues’ for the audience to enhance the action on screen. Musicians were also tasked with improvising sound effects to accompany the film, often using percussion instruments to do so. Later on musicians started to incorporate pieces from the standard repertoire, and when feature length films became commonplace, musicians, orchestras, or even studios themselves began to create film music cue sheets. These sheets were lengthy, and included detailed notes about effects and moods that needed to be addressed by the musicians. It wasn’t until later that the first film scores for silent films were composed. Camille Saint-Saens’ score for the film The Assassination of the Duke of
Guise (Charles le Bargy, 1908) is one of the earliest film scores of this kind.
Considering silent film used music from the standard repertoire, film composers in the early days of sound film infused their scores with the affective associations created by this
52 tradition. The influence of Richard Strauss and the symphonic poem in the Golden Era of film music was especially evident. Early on, Austrian-born composers like Erich Korngold and Max
Steiner (godson of Richard Strauss) established much of the language of film music. Steiner’s score to Gone With the Wind (Victor Fleming, 1939)68 and Korngold’s score to The Adventures of Robin Hood (Michael Curtiz, 1938), have a Straussian symphonic poem quality, and both of them rely on a Wagnerian use of leitmotifs to drive the narrative of the film forward.
Along with Alfred Newman, Miklos Rozsa, Franz Waxman, Bernard Herrmann, and
Dimitri Tiomkin, Steiner and Korngold are considered the fathers of film music. It is important to note that many of the composers on this list, were either of German/Austrian heritage, or trained in Germany. These composers authored many of tropes we identify today. Tiomkin, a
Russian-American composer trained in Russia, was the creator of the western film music sound with scores for iconic films like High Noon (Fred Zinnemann, 1952); while Rozsa, a Hungarian trained in Germany, influenced the tropes associated with the Middle-East, with his score for The
Thief of Bagdad (Alexander Korda, 1940).
As composers paired up with filmmakers, iconic visuals were accompanied by specific music, often iconic itself. The greatest example of this is Bernard Herrmann’s relationship with
Alfred Hitchcock; their collaboration produced some of the most iconic tropes in film music.
From the strings only score to Psycho (Alfred Hitchcock, 1960) setting a new standard for thriller scores, and giving us the “shower scene” trope (aggressive and dissonant high strings signifying murder or danger), to the use of electronic instruments in The Birds (Hitchcock,
1963), Herrmann re-defined the way film music interacted with the film.
68 Hereafter, the names and dates in parenthesis following a film title are the director and year of release, respectively.
53 Several of the tropes created by these composers still survive today; some have been transformed, and others are still intact. However, the affective associations created by them, through the images in the films they scored, conditioned their audience to identify those associations so much that they have become part of the film music language.
MODERN FILM MUSIC & FILM MUSIC TROPES
“I resisted those kinds of chord progressions for years. I would hear them
in horror movies and I would hear them in Goldsmith and in John Williams. I still
hear them. But I resisted and resisted. It became self-deceiving in a way. I was in a
kind of denial about it, because audience, director, producers—everybody
watching the movie—has certain expectations.[. . . ] there is a sound to that
sequence that, when tied to an image, particularly when tied to a spectacular, ultra-
large image, is hard to resist. [. . . ]
We all know that sometimes clichés are the best way to go.
It is with this quote that Ilario Meandri Sanchez70 begins his article on the use of film music formulas. The conventions set forth by film music of the past have created a language through which film composers interact with the audience. In the section on narrative, through
69 Michael Schelle, The Score: Interviews with Film Composers, (Beverly Hills, CA: Silman-James Press, 1999), 192–93.
70 Ilario Meandri Sanchez, “Around the Marvelous: Film Music Formulas from an Ethnomusicological Perspective,” Music and the Moving Image 7 (2014): 34-75.
54 Gorbman, we discussed how whatever music is added to a scene it will elicit a response from the audience. To get the desired response, composers often rely on the tropes immediately recognizable by the audience. The idea that this could create dull or unimaginative music is a common criticism of film music. Sanchez addresses this concern:
“Not only the dramatic intuition, but the entire production process that
brings insight to its full realization, is modular. In the very short time to produce the
soundtrack, starting from pre-spotting, intuition must be immediately and
synthetically pragmatic as part of the creative operation, otherwise the form will be
unachievable: ‘how do we achieve it’ and ‘what do we achieve’ are conjoined
aspects of the creative work and are already problems of meaning. The formula
[tropes] is not only proven dramaturgy, a code recognizable to spectators, but also a
proven modus operandi, a production process already known, a controlled form of
relationship between music and image, repeatable and, therefore, governable within
the times and production possibilities of a project.[...]
The role model that is imposed following the success of a film, the formula
passing from composer to composer, from genre to genre, from public to public—
from ear to ear—lives in an audio-visual and especially neo-oral dimension—a
channel certainly inherent in the ‘naturally’ aural and performing dimension of
music, and, yet, exasperated by a vocation to repetition that is first and foremost
ensured by its technical reproducibility.”71
71 Meandri Sanchez, “Around the Marvelous,” 50.
55 Similarly, temp scores—the temporary scores made up of pre-existing music— drastically changed the way composers approach scoring a film. Through the temp score, directors and music editors play an important role in actively deciding which conventions and tropes will be used in the score. Some composers welcome the temp tracks, others reject it. However, it is important to note the role this element of filmmaking has had in perpetuating musical conventions that eventually become tropes. A notable example of this is the use of Gustav Holst’s Suite The Planets, Op.32 as the temp score for Star Wars:
Episode IV (George Lucas, 1977), an influence heard in John Williams’ iconic score; and in extreme cases (as previously discussed in the analysis of Strauss) the temp score became the final score.
The different kinds of film music tropes
In the sections on affect and narrative, we explored how music acquires meaning through the audience’s understanding of musical conventions. In film music tropes are the gateway to this understanding, as the audience seldom listens to music actively while watching a film. It is through the immediate associations tropes evoke that audiences attach meaning. Once an affective association has been established, composers shape that trope to fit the specific narrative and guide the audience through the film. By creating expectation—and sometimes breaking it—a composer may elicit the desired emotional reaction from the audience.
Film music tropes often come from five main sources. Below we will explore these sources and how they produce tropes.
56 For his score to Jaws (Steven Spielberg, 1975), John Williams drew inspiration from the last movement of Dvorak’s Symphony No.9 (Figure 4.1a) and The Rite of Spring by Igor Stravinsky (Figure 4.1b). The film opens with a nighttime underwater shot.
Utilizing the trope of primal imminent danger elicited by the ballet, John Williams composed an opening filled with polytonality and driven by the now iconic two-note ostinato (Figure 4.1c). Resembling the “Dance of the Young Girls” in The Rite of Spring,
Williams kept the rhythmic ostinato in the strings and the dissonant brass interruptions while a melodic line in the winds plays along, thus establishing a sense of danger. Once
Williams established this association, he was able to utilize the two-note motive present in the low strings as a trope signifying imminent danger in different iterations throughout the film.
Figure 4.1
a) Antonin Dvorak, Symphony No.9 Op.95 - Movement IV (reduction, mm.1-4)
b) Igor Stravinsky, The Rite of Spring - Dance of the Young Girls (reduction, mm.1-3)
57 c) John Williams, Jaws (1975) - Opening titles (reduction, mm.10-16)72
Given the low budget of the film, the shark only appears on screen for limited time; the music was therefore responsible for representing the shark for most of the film. The use of this trope became so iconic that, regardless of the strong similarities, it was no longer attached to either Dvorak or Stravinsky and became a trope of its own: the Jaws trope.
The kind of film music trope in the example above is one that grows out of an iconic association. As mentioned before, another example of this is the high strings in the shower scene
72 Fred Karlin & Rayburn Wright, On the Track: a guide to contemporary film scoring, 2nd edition (New York: Routledge, 2004), 198. 58 from Psycho (1960). Other film music tropes are born out of tradition, attached to an innate affective association. An example of this is the trope Sanchez refers to as “The Marvelous.” This trope is “characterized by a [harmonic] relationship between major subdominant and minor tonic.”73 Sanchez points out “symmetrically, the same passage [progression] could be read as a relationship between a minor dominant and a major tonic.”74 (Figure 4.2a)
Figure 4.2: Alan Silvestri, The Abyss (James Cameron, 1989) - (reduction)
Sanchez believes that Alan Silvestri’s score to The Abyss (James Cameron, 1989), built entirely around “the Marvelous” trope (which he calls ‘formula’), “is an excellent example of the relationships that the formula maintains with respect to the dramatic structure of the film in a classic three-act restorative form.”75 He explains that the film begins with the echo of a sonar, and after a short main title, a boys’ choir presents the characteristic harmonic progression. After a build-up, a full orchestra statement is presented as the title of the film appears on screen.
Sanchez believes that, from that moment on, “the story is no longer an event taking place in a
73 Meandri Sanchez, “Around the Marvelous,” 36
74 Ibid., 36-37.
75 Ibid., 37. 59 vacuum, but it builds up towards the events that the music, through its gnostic attitude, has established as the narrative horizon of the movie.”76
Sanchez provides examples of the use of this trope as a narrative device in the film.
While explaining the harmonic language throughout the film, Sanchez points out that Silvestri
“transports the harmonic relationship in a series of modulations, an architecture in which his signature is made fully recognizable. The adherence to the formula [trope]—which is an index of the full linguistic maturity for the composer— never obliterates the composer’s signature.”77
In order to explain the versatility of this trope, Sanchez analyzes the connections between
“the Marvelous and the Terrible,” as a new trope “characterized by a series of new harmonic relationships.”78 Looking at Lara Croft: The Cradle of Life (Jan de Bont, 2003), another score by
Alan Silvestri, Sanchez explores a scene where the heroine (Angelina Jolie) arrives at an underwater cave where a treasure is hidden. Sanchez notes that the music prepares an iteration of
“the Marvelous,” yet it carefully avoids it, tending towards a different treatment: the relationship between the G minor and the E minor triads, a minor tonic and the minor variant of “the
Marvelous” harmonic relationship. He suggests that this “relationship shows a subtle connection with the harmonic-expressive resources of the Marvelous.”79
In the article, Sanchez goes on to explore the “Marvelous” trope in many of its different iterations and the narrative function of each iteration of the trope. Other examples of scores that
76 Meandri Sanchez, “Around the Marvelous,” 37
77 Ibid., 39.
78 Ibid., 39-40
79 Ibid., 40.
60 use this motive are Batman (Tim Burton, 1989) by Danny Elfman, and Spider-Man III (Sam
Raimi, 2007) by Christopher Young.
So far we have looked at tropes that become such out of tradition or an iconic association.
However, most tropes come from the common use of a piece in the standard repertoire, which has been referenced by many film composers. One of the most utilized pieces of music is the orchestral programmatic work The Planets, Op. 32 by Gustav Holst. The larger than life quality of this piece provides a valuable resource of film music tropes. It has been used, as previously mentioned, as a temp score for several films. Some of the most iconic scores to have used this piece as inspiration include John Williams’ score to Star Wars: Episode IV, and Hans Zimmer’s score to Gladiator (Ridley Scott, 2000).
In the opening battle sequence from Gladiator, Hans Zimmer takes inspiration from a section in the Mars movement. Zimmer does his own version of the chromatic brass passages in
Holst to represent the militaristic turmoil of war. Unlike Holst’s legato gestures in 5/4, Zimmer re-articulates the chords. (Figures 4.3a and 4.3b)
Figure 4.3
a) Gustav Holst, The Planets, Op.32 - Mars, “The Bringer of War” (reduction, mm.45-49)
61 b) Hans Zimmer, Gladiator (Ridley Scott, 2000) - The Battle (reduction)
The excerpt above is a recurring motive during the battle scenes in Gladiator. The narrative of the original Holst, as a representation of war, has driven composers to utilize this section of the piece as a trope itself. Another example can be found in Klaus Badelt’s score to
Pirates of the Caribbean: The Curse of the Black Pearl (Gore Verbinski, 2003).
Another trope of this kind is what I called the “Stacked Fourths” trope. The origin of this trope is the piece Fanfare for the Common Man by Aaron Copland. The association of this piece with American patriotism, space exploration, and the celebration of human achievements, has become a well-known trope in popular culture. Used famously by Alexander Courage in the main theme for the original Star Trek television series, this trope is one of the most easily recognized affective cues in film music.
A fourth source of film music tropes is the associations created with a piece from the standard repertoire. It must be noted that several of these tropes may also fit our previous category. Famous examples of these tropes include:
● Giachino Rossini’s William Tell Overture, from the Opera William Tell: This piece has
had several associations. From the famous flute solo to represent dawn and nature waking
up, to the allegro section used as main theme for The Lone Ranger television series. Both
of these associations have been borrowed and emulated by film music, sometimes
62 comically and others as a trope to elicit the specific affective associations attached to
these pieces.
● Nikolai Rimsky-Korsakov’s Flight of the Bumblebee: Used as the main theme for The
Green Hornet television series, the chromatic stirring melody, colorful orchestration and
appropriate title, have made this piece a go-to inspiration and trope for music depicting
insects flying, crawling or swarming. A great example of how a composer utilized this
music as inspiration is John Williams’s score to Indiana Jones and the Kingdom of the
Crystal Skull (Steven Spielberg, 2008). In a sequence where fire ants crawl all over
several characters, John Williams emulates the chromatic and colorful qualities of the
Rimsky-Korsakov piece.
Finally, one of the richest sources for musical tropes are those defined by cultural identity. These tropes may be defined by a folk music influence, a stylistic choice based on geography or nationality, compositional styles based on historical period, or associations made through any other cultural signifier. There are endless possibilities for folk elements to become tropes, as they may include any given element we may associate with a specific culture or social cue. Below are two examples of these tropes:
● Hans Zimmer, The Power of One (John G. Avildsen, 1992): This film tells the story of a
boy growing up in Africa during World War II. The film features a score mostly based on
African chants arranged by Lebo M and Hans Zimmer.
● James Horner, Titanic (James Cameron, 1997): The use of bagpipes, penny whistles,
Bodh-ran and fiddle, and the use of melodies inspired by Irish folk music, gave this score
a clear narrative and cultural association. However, any of these choices could be seen as
63 an ethnic trope. Howards Shore’s use of a penny whistle, combined with a tune inspired
by folk music, as “the Shire” theme in The Lord of the Rings: The Fellowship of the Ring
(Peter Jackson, 2001), is one of the most iconic uses of this specific trope.
We must note that while many of the tropes found in film music find their origin in these five sources, it is impossible to track the origin of every single trope this way. Composers ultimately rely on their instinct and their knowledge of film music in particular, and music in general. The affective associations embedded in tropes are shaped and transformed by each film, by each composer, and by each re-imagining of them. Just as Liszt and Strauss relied on harmonic change, leitmotifs and conventions they established in the narrative of their pieces, film music relies on tropes to elicit affect and enhance the narrative.
Cataloguing film music Tropes
Through the course of this document, I have presented seven parameters to define tropes.
The first level is the type of trope, and the second level its origin:
● Level 1: Nature
○ Innate. ○ Learned.
● Level 2: Origin
○ From iconic association: Iconic film music that creates a clear association (e.g. Jaws, Psycho) ○ From tradition: Tropes commonly used throughout film music. ○ From common reference: Tropes that come from pieces from the standard repertoire used as reference. ○ From direct quotes: Affective associations attached by film to pieces from the standard repertoire
64 ○ From cultural identity: Tropes that come from folk music and music symbolic of a culture.
Moving forward, cataloguing tropes based on these parameters is only the first step, as crossovers exists and tropes can contain several of these parameters. However, a detailed catalogue notes the characteristics of a trope, and the affective associations attached to it. These parameters are the important details composers use to decided whether or not a trope will elicit the appropriate affective response.
In the Appendix of this dissertation, a comprehensive list of film music tropes can be found. This list contains only but a few of hundreds of tropes utilized in film music. Due to the constant output of film music, the evolution of the industry, and the affective associations recently explored or yet to be explored, a catalogue of tropes is ever expanding. Once a new iconic sound or score is presented to the public, its success often drives other composers to emulate it, creating new tropes that may define a period of several years in film music. While these tropes may be popular in their original form for a few years, they are often transformed and re-imagined to become part of the language.
Music heard in theatrical trailers of upcoming films is often a good reference of popular tropes during the previous years. Theatrical trailers must elicit a strong emotional response from the audience in a few seconds, so they rely on the contemporary associations created by each genre of film in recent years. Unlike the score for a film, a theatrical trailer can’t afford the time to establish and develop a unique narrative. In 2016, it is common to sit in the theater and hear more than one trailer for a thriller, action, fantasy, science fiction, or adventure movie, filled with the “horns of doom” trope (i.e., low brass pedal tones played loudly in long or medium length
65 not values). The “horns of doom” first appeared in Hans Zimmer iconic Inception (Christopher
Nolan, 2010) score.
A trope may use one or several musical devices to create a specific association. In some cases utilizing one or two of them can recall the association. The most common musical devices used are:
● Orchestration ● Harmony ● Melodic contour ● Voicing ● Interval relationship ● Rhythm
The affective associations attached to tropes, as with images, aren’t always singular and can be manipulated—a solo trumpet playing a soulful military tune legato and softly, vs. the same tune played loudly with every note re-articulated, elicit a military association with different affective responses. Similarly, tropes can travel between film genres.
Considering all of these different aspects, the presented catalogue is structured by listing tropes on the following levels:
● Level 1: Origin of the trope (as seen in the list at the beginning of this section). ● Level 2: Musical devices used. ● Level 3: Genre.
The catalogue will contain in different columns the following parameters: affective association, description, genre crossover, and other musical devices.
66 CHAPTER V: SILVERADO, A FILM MUSIC AFFECTIVE ANALYSIS
For the final chapter of this dissertation, I present an analysis of Bruce Broughton’s score to the iconic film Silverado (Lawrence Kasdan, 1985). Focusing on the opening scene of the film, this analysis will track the use of different tropes throughout the cue, and provides examples of other films using each trope presented.
As an iconic piece of the western film genre, the score of Silverado makes use of several tropes to fit the iconic musical sound of the genre. The structures of the themes, and much of the score, have a very heroic quality to it. The adventure theme of the film utilizes several tropes of both the western, and hero genres. (Figure 5.1)
The opening of the adventure theme (Figure 5.1a), rarely found on it’s own in the score, makes use of the “Heroic/Noble Horn Call” trope. This trope is characterized by the use of horns playing a repetitive line, structured around quartal/quintal harmony, and a declamatory quality.
One of the most iconic examples of this trope is the use of it in the opening bars of every Star
Wars soundtrack. The majestic and heroic quality of this trope helps the audience immediately recognize a sense of adventure and heroism. In Silverado, Bruce Broughton reserves it for scenes where the heroes ride out on a mission galloping against majestic landscapes.
Throughout the film, the “Hero Theme” trope is the single most used musical signifier.
(Figure 5.1b) Early in the film, Broughton establishes the heroic notes of the narrative by using this trope. Used to represent a hero, this trope is characterized by a march like quality performed by brass instruments and the use of perfect fifths/fourths as the main intervallic relationships.
With the advent of superhero films in the last decade, the use of this has become one of the most
67 utilized tropes. Alan Silvestri’s main theme for Captain America: The First Avenger (Joe
Johnston, 2011) is a great example of other uses of this trope.
As is common in heroic main themes, the secondary theme in Silverado uses the “Hero
Romance” trope. (Figure 5.1c) In contrast with the “Hero Theme,” it is characterized by a more lyrical quality, using step-wise motion rather than perfect fifths and fourths as the core of the melodic movement. Outlining interval relationships of sixths, this trope is often played by the string section. The secondary theme, as a romantic/lyrical side of the hero, is a trope found throughout different genres of film. In the alien invasion film Independence Day (Roland
Emmerich, 1996), David Arnold utilizes this trope to show a softer and more emotional side of the main heroic character, only to reveal in the closing credits that this is the secondary theme of the hero’s main theme.
“The Cowboy March” trope is probably one of the most recognizable tropes in the western genre. As we can see in Bruce Broughton’s treatment of it in Silverado, the use of syncopated rhythms and a fully harmonized melody, performed by a divisi brass choir, are characteristics that help us make the classic western association. Usually accompanied by a rhythm guitar, or some percussion, this trope can be found in scores like Randy Newman’s Toy
Story (John Lasseter, 1995), and Ennio Morricone’s score for The Good, the Bad and the Ugly
(Sergio Leone, 1967). Morricone’s score not only utilized well known tropes, but created a few of it’s own like the iconic “Western Whistle.”
68 Figure 5.1
69 Contrasting the heroic Main theme, Broughton introduces the settlers theme. Used to represent the gentle-heartedness of the settlers, this theme taps into tropes born out of cultural identity. The theme has a simple ABA structure, and utilizes early American-style harmony, reminiscent of a hymn. (Figure 5.2) Though not using any specific tropes, the identifiable folk characteristics of the music function as a trope, and the rhythm, articulation, and lyrical qualities of the melody, tie it together with the “Hero romance” melody of the main theme. The stepwise motion, arpeggiation of chords, and constant rising and falling contour of the melody help define the song-like quality of this theme. Another great example of this is found in John Williams’ score to The Patriot (Roland Emmerich, 2001) where the use of folk style melodies, help create associations with the country life during the period of the American Revolution.
Figure 5.2
Next we explore how Bruce Broughton used tropes and his motives in the opening scene of the film.
70 ANALYSIS: Main Title
The film opens with the camera panning inside a dark cabin; we see boots, a saddle, a kettle, and a gun in its holster. We see the back of a man lying on his side, suddenly, a man bursts in gun in hand, and the unidentified man sits up and shoots him. This is Emmett, one of our heroes. As shots continue to come from unidentified sources outside the cabin, Emmett shoots, killing the perpetuators. After the last man falls through the roof, Emmett stands up and we hear the first notes of music. Utilizing the “Ominous Piano Arpeggio” trope80 (characterized by a rising dissonant piano), a rivet cymbal and establishing a low pedal, Broughton maintains a sense of unknown danger. At this point Emmett is unaware if there are any more shooters, or what is outside of the cabin. The melody presented in the horns and tuba, with its dissonant triton outline and low register, utilizes the “Villain Theme” trope.81 (Figure 5.3)
When Emmett opens the door the opening piano and low brass gestures are repeated, and as the camera lens moves outside, the nobler sound of a “horn call” in mm.6 releases the tension.
With a hard hit82 on the opening title, we hear the main “Hero Theme” in the trumpets. This presentation of the theme is also reminiscent of the military trumpet calls. Now that the dissonance has cleared up in favor of the Eb pedal, this intimate presentation of the theme functions as an introductory section to the actual theme. For the second phrase of the theme,
Broughton incorporates a call and response amongst the brass, followed by the “Hollywood
80 e.g., John Williams’ score for E.T. The Extra-terrestrial (Steven Spielberg, 1982); and Jerry Goldsmith’s score for The Omen (Richard Donner, 1976)
81 e.g., John Williams’ score for Close Encounters of the Third Kind (Steven Spielberg, 1977); and Jerry Goldsmith’s score for Alien (Ridley Scott, 1976)
82 When a musical cue and an image on the film happen at the exact same time.
71 Run” trope (a fast run into a sustained high note) in the strings. When Emmett looks at the brand on the horses of the men sent to kill him, the F# bass interruptions under the Eb-Bb-F harmony signal a sense of suspense.
With a big snare drum roll, and a brass swell, as the visuals cut to a wide shot of the majestic landscape, the main theme in its full heroic force is heard in the entire orchestra in C major. To add the affective association of cowboys to this otherwise heroic theme, Broughton utilizes the iconic “Cowboy Strum” trope in this section. This trope is a syncopated guitar strum under a main melody, and has become associated with “cowboy music.” (Figure 5.4)
Figure 5.3: 1M1 “Main title” (score excerpt / reduction, mm1-10)
72 Figure 5.4: 1M1, cont. (score excerpt, mm.18-29)
As the landscape shots and visuals of Emmett continue, the music becomes increasingly influenced by “wild west” film music tropes. When we see Emmett crossing a river, the score introduces an exciting string line playing the “Hoedown Strings” trope. (Figure 5.5) I assigned this trope its name due to its use by Aaron Copland.83 Known for the fiddle like quality of this trope, the quintessential cowboy music style becomes more evident as it leads into the “Cowboy
March” trope when we see Emmett riding up a mountainside.
A new iteration of the “Hero Theme” combined with the “Hoedown Strings” is presented and, on a wide shot Emmett riding during Sundown, the secondary “Hero Romance” motive is presented. The lyrical nature of this motive, combined with the thinner orchestration is a more relaxed representation of the sun setting, and the excitement of the day coming to an end. The second phrase of the “Hero Romance” motive is presented intimately on oboe and bass clarinet.
This second phrase is in a minor mode (the first time we hear music in minor mode) representing intimate loneliness, as we see Emmett sitting alone by the campfire. Before the end of this shot, a
12-string guitar plays a country style phrase.
83 Heard in Aaron Copland’s Hoe Down, from Rodeo. Other examples include the score for The Cowboys (Mark Rydell, 1972), by John Williams.
73 Figure 5.5: 1M1, cont. (reduction, mm.26-31)
When the image dissolves into Emmett riding at dawn, the last full-fledged iteration of
the “Hero theme” and “Hero Romance” motives appear. The heroic cowboy music ends, and we
see a body in the distance. To accentuate this visual, the first transformation of the “hero theme”
motive is presented softly in the Eb Clarinet. Above a three-note cluster in the winds, sustained
violin harmonics, a buzz marimba,84 and repeated soft interruptions on the flute; the different
transformations of the motive accentuate the action on the screen. The music continues with this
inquisitive quality. Once the camera finishes panning over the body, it is revealed this is Paden
(another one of the heroes in the film). When the pan stops on Paden’s face, the “Hero Theme”
motive is heard transformed in the low flute. By using a transformation of this motive,
Broughton hints that this man may be a hero, but who he is and if he is alive is uncertain.
(Figure 5.6)
Figure 5.6: 1M1, cont. (reduction, mm.77-92)
84 The buzz marimba is an African instrument similar in build and sound to the marimba, but producing a buzzing sound. A demonstration of the instrument can be found here: https://www.youtube.com/watch?v=FX_0sucRcY8
74 When Emmett approaches and examines the body, the music is filled with tritones and dissonant harmonies, clouded in harmonic and melodic ambiguity. As Emmett offers water to
Paden, the harmonic ambiguity resolves into a quartal harmony over Bb, and as Paden drinks we hear the “Hero Theme” motive softly in the guitar, signaling that this is indeed one of the film’s heroes. As the motive ends, the camera cuts back to Emmett then back to Paden, and as he speaks under his breath, the music suddenly becomes wondrous. This is a trope commonly used in fantasy movies to create suspense during a magical moment. (Figure 5.7) The “Wondrous” trope85 is characterized by the use of bell-like percussion, soft held strings, and sometimes woodwinds, with an altered chord like the chord used by Broughton: F# major 7th with an added
4th. In this case, we could say the suspense is Paden being alive,
After Paden introduces himself, the camera cuts back to Emmett who smiles while the
French horns play the “Hero theme” a one last time. A warm bed of trombones accompanies this last iteration of the motive on Bb, and the scene fades out. (Figure 5.7)
Figure 5.7: 1M1, cont. (score excerpt / reduction, mm.105-11)
85 E.g., John Williams’ score to The B.F.G. (Steven Spielberg, 2016); Alan Silvestri’s score to The Mummy Returns (Stephen Sommers, 2001)
75 Throughout this film, Bruce Broughton makes use of several known tropes while maintaining his unique voice. Using harmony, colorful orchestration and motivic development, this score is one of the most iconic film scores of the Western genre. In comparison to John
Williams’s interpretation of the “Dance of the Young Girls” trope from Stravinsky, Broughton utilized the piece and expanded the orchestration and relationship to the motivic material he established earlier in the film. This scene is an attack on a party by the villains of the film, thus using the trope in the same context of imminent danger used by John Williams. The cue is appropriately named “Party Crashers,” and goes on to develop into an aggressive, string driven action sequence. (Figure 5.8)
Figure 5.8: 8M2 “Party Crashers” (score excerpt / reduction, mm.1-10)
76 In the score reduction above, we notice the influence of Stravinsky, however the use of guitars, guiro, faster tempo and the softer dynamic differ. The quick departure from the trope demonstrates that, once the affective association is made, the music can stir away from it.
ANALYSIS CONCLUSION
Just as seen in the analysis of programmatic music, the use of motives in a film score is an important factor in propelling the narrative forward. In Silverado, Bruce Broughton’s use of tropes associated with the western genre is to be expected for the audience to make the connection to the classic westerns of Hollywood’s Golden Age. However, Broughton’s orchestration choices, juxtaposed with a heroic theme as well as the incorporation of elements associated with other film genres produces a score that effectively conveys the narrative of the film.
As learned through Gorbman, the music in the opening sequence, through its use of tropes and motives, functions as a narrative device on different levels:
1) The opening and closing bars play on the character’s (Emmett) emotions.
2) The “Hero theme” trope informs the audience about the “character” of the film.
3) The “Hoedown strings,” the “Cowboy March,” and the use of guitars, inform the
audience about the cultural identity and genre of the film.
4) The transformation of the “Hero theme” at the end of the sequence, and the music
surrounding it, play the characters emotions, translate the subtext of the scene, and
informs the audience about the identity of a new character.
77 The music in this this film, while recalling and utilizing several tropes of the Golden Age of film music, is successful at utilizing those elements to create narrative through music, both in consort with the film and on its own.
78 CONCLUSION
For many years film music has been in limbo, somewhere between ‘commercial’ music and ‘proper’ concert music. The claim: the recognizable musical devices used in film music, can often be traced back to pieces from the standard repertoire, therefore, film music composers are only copying rather than being original or sophisticated. However, throughout the dissertation we learned that music could be an imitation of emotions, or an abstract representation of the world around us, of actions, characters and behaviors. Music can have different narrative functions, and relies on affect to elicit an emotional reaction to that narrative. The way music creates affect is through association, be it through a musical narrative, an extra-musical narrative, or the nature of the musical gestures alone.
Musical traditions and composing techniques have been passed down for generations, and with them, so have the affective associations attached to those traditions. When looking at Liszt,
Strauss, Williams, and Broughton, we can see musical traditions embedded in their music. Those traditions result in the creation of musical tropes, and as we saw, they are important musical devices utilized by composers to connect with their audience.
The tropes found in film music, passed down by generations of film composers—who in turn received their tropes from the composers of the past, are an integral part of the success of a film score. They help guide the audience through the narrative of the film, and persuade them to accept the emotions the film intends to arouse in them. As seen in the last example from
Silverado, and the opening music from Jaws, while these tropes elicit an affective response, it is
79 up to the composer to transform, combine, and craft them into his own language so he can successfully affect the audience.
With the advent of film music concerts and screenings of films with life orchestra performed by top tier orchestras, the legacy of past composers found in film music through tropes should be celebrated and studied, as it becomes a more integral part of our society. Two examples of film score cues modeled after “The Dance of The Young Girls” —a piece that caused a riot during its premiere—were presented, and one of them went on to become an iconic piece of music and pop culture. Could it be possible film music, by creating associations between music and affect, helps the audience understand contemporary concert music? Due to the nature of film music, many people will first discover new genres and styles of music while sitting in a movie theatre.
This dissertation only studies a small fragment of this rich subject. Further study of film music could include tracking the origin of different tropes or an in-depth analysis of how film composers shape and transform them.
80 APPENDIX
FILM MUSIC TROPES CATALOGUE
Due to the ever-growing amount of film music tropes, the following pages list some of the tropes commonly found in film music based on the parameters established in
Chapter IV. Tropes that come from cultural associations will not be listed. The use of folk and ethnic elements is too broad, and the affective association is easily recognizable. For the same reason, tropes referencing pieces from the standard repertoire won’t be listed. The examples list the approximate minute in the film or episode where the trope happens. It most be noted that tropes apply to both live action and animated films.
Tropes from Tradition
Trope Description Musical Genre Affective Examples Device Association Battle of the The use of Rhythm. Action, Excitement, - Gladiator meter compound Adventure, danger, war, (2001): 91’ meters like Thriller, Epic constant tension. - Captain 12/8,9/8,6/8,7/8 and Science America: for battle music. Fiction. Civil War (2016): 50’ Comedic Sequential Harmony. Comedy, Something - Wile E. Chromatic Major chords Fantasy and dropping from a Coyote and Drop transforming to Adventure far distance. The Road diminished or Runner augmented (Animated chords by step series): and a dropping Several 3rd. episodes - Inside Out (2015): 42’ Cowboy March Use of Orchestration, Western. Cowboys, - Silverado syncopated rhythm and westerns, (1985): 03’ rhythms and a melodic adventure, - Toy Story 3 fully contour. horseback riding (2010): 01’ harmonized and the Wild melody, West. 81 performed by divisi brass Cowboy Strum A syncopated Orchestration Western, Countryside, - How the West guitar and rhythm. Period and horseback Was Won strumming Adventure riding, (1962): Main under a main association to Title melody. the Wild West. - The High Chaparral (1967): Main Title Dream Harp The use of Orchestration Fantasy, Dreaming and - Harry Potter Whole tone and harmony. Children and magic. and The Harp arpeggios Comedy. Sorcerer’s and glissandos. Stone (2001): 114’ - Hook (1991): 97’ Drums of War Big percussion Orchestration Action, Period, Excitement, war, - The Mummy sections, and rhythm. Adventure, traveling, Returns utilizing both Epic and tension, fighting (2001): 33’ common Science Fiction and to - Avatar western symbolize (2009): 135’ instruments and primitive many ethnic cultures. ones. The rhythms are often Latin or middle eastern in nature. Flying Fast Orchestration Action, Epic, Excitement, - Superman Winds/Strings woodwind/string and melodic Fantasy, adventure, (1978): runs that act as contour. Western, flying and Opening fillers in Science Fiction travel. Titles between the and Adventure - Peter Pan long notes of a (2003): 21’ 'heroic' or fantasy melody. They keep propelling the melody and action forward. Hero Harmony Major keys Harmony. Action, Epic, Heroism, action, - Spiderman utilizing third Fantasy, adventure, (2002): Main relations, and Western, warrior qualities Title borrowed major Science Fiction and hope. - Captain chords to create and Adventure. America: The a sense of First unparalleled Avenger heroism. (2011): Main Title - Ant-Man (2015): Main Title 82 Hero Romance The secondary Melodic Action, Epic, Romance, - Star Wars: A theme in a contour. Fantasy, warmth, New Hope heroic or epic Western, intimacy, (1977): 32’ theme, often Science Fiction familiarity and - Eragon played by string and Adventure. approachability. (2006): 91’ and using the more romantic 6ths intervals. It has a more slurred quality. Hero Theme Played by the Orchestration Action, Epic, Heroism, action, - Star Wars: A brass, using and melodic Fantasy, adventure, New Hope perfect intervals contour. Western, warrior qualities (1977): Main (5ths and 4ths) Science Fiction and hope. Title. on the and Adventure - Back to the downbeats, with Future dotted rhythms. (1986): Main Title Heroic/Noble Characterized Orchestration Action, Period, Royalty, knight - The Lord of Horn Call by the use of and melodic Epic, Fantasy, in shining The Rings horns playing a contour. Western, armor, noble Trilogy repetitive line, Science Fiction intentions, hope (2001): structured and Adventure and cultural Gondor around references. Theme quartal/quintal - Troy (2004): harmony, and a 36’ declamatory quality. Hollywood This is a fast Orchestration Fantasy, Joy and - Moulin Run scale, which and melodic Western, openness. It is Rouge ends on a single contour. Science Fiction reminiscent of (2001): 20’ high held note, and Adventure. the Golden Age - The Artist played by Hollywood (2011): 1’ strings, scores. woodwinds, or both. Ominous Piano Characterized Orchestration, All. Danger, - Silverado Arpeggio by an harmony and suspense, (1985): 01’ arpeggiated melodic ominous - The Omen dissonant chord contour. presence, the (1976): 44’ played by the unknown and piano. The last horror. note held and allowed to ring. Power Strings Strings playing Rhythm, Action, Excitement, - Transformers ostinato power Orchestration Science Fiction battle, traveling, (2007): 120’ chords in and Harmony and Adventure. heroic - Oblivion parallel motion endeavours. (2013): 109’
Rock out Brass Brass section Orchestration. Action, Excitement, - The Dark playing held Science Fiction battle and heroic Knight Rises chords over and Adventure. endeavours. (2012): 23’ 83 ostinato strings - Iron Man 3 or electric guitar (2015): 95’ power chords. They emphasise the downbeat.
Rock out i-III-bVII Harmony. Action, Excitement, - The Day Chords harmonic Science Fiction impending After progression. It and Adventure. action and Tomorrow emphasises the traveling. (2004): 115’ tonic. - 2012 (2012): 110’
The angelic A melody Orchestration Fantasy, Angels, - The Lord of soprano. leaping a sixth and melodic Drama, mysticism, The Rings: up to the higher contour. Science Fiction magic, intimacy The Return register of the and Adventure. or innocence. of the Kings choir. The (2003): melody then - Maleficent comes down by (2014): 07’ step in the opposite direction, or to the original pitch. The High and To end a phrase Orchestration, Comedy. End of a scene, - Wile E. Low in a comedic register and comedy, falling, Coyote and scene, a high melodic succeeding. The Road woodwinds contour. Runner grace note(s) to (Animated a short note, series): followed by a Several low short note. Episodes - Rango (2011): 32’ The Hope A suspension Orchestration All. Hope, emotional - A beautiful Suspension played in the and harmony. tension, Mind (2001): horns, usually a emotional 23’ b9-8 or b6-5 climax and - Interstellar suspension as a resolution. (2014): 115’ counter melody to bring tension in a climactic scene, repeated a few times with the final one resolving at the moment of release. The Marvelous Harmonic Harmony Fantasy, Mystery, - The Abyss relationship Drama, marvel, wonder, (1989): 139’ between major Science Fiction the unknown - Independence VI and i and Adventure. and mysticism. Day (1996): 84 23’ The Mystery In a minor key Harmony. All. The unknown, - Star Wars: A the harmonic magic, New Hope tritone uneasiness, (1977): 32’ relationship of i- wonder and - Harry Potter #iv-i, is played other and the over a tonic worldliness. Chamber of pedal in a minor Secrets key (2002): 112’ The Smooth- A trombone Orchestration, Comedy. To convey a - Wile E. bone using a wah-wah rhythm and sense of smooth Coyote and mute and melodic confidence and The Road swinging 8th contour. charm in a Runner notes, often cartoonish (Animated bringing out the character. series) 7th of the chord - Rango (2011) The Wondrous Characterized Orchestration, Fantasy, Magic, wonder, - Back to the by the use of harmony and Science suspense, the Future bell-like texture. Fiction, unknown. (1985): 07’ percussion, soft Animation and - The B.F.G. held strings, and Adventure. (2016): 03’ sometimes woodwinds, with an altered chord like F# major 7th with an added 4th Villain Theme A melody Melodic Fantasy, Evil, darkness, - E.T. the played in a low contour, Action, Epic, anger, danger, Extra- register register and Science Fiction uneasiness and Terrestrial instrument orchestration. and Adventure. tension. (1982): 01’ (usually the low - Star Wars: brass), with a The Force melodic contour Awakens that outlines the (2015): 05’ tritone.
Tropes from Common Reference
Arpeggiator Arpeggiated Rhythm and Science fiction. Futuristic - Oblivion ostinatos Orchestration societies, space (2013): 24’ played by travel, alternate - Tron: Legacy electronic reality. (2010): 63’ instruments. Use electronic dance music as reference. Fanfare for the Variations of Orchestration, Adventure, Space - Star Trek Common Man the trumpet Melodic Western, Epic, exploration, (1966): Main calls in perfect contour. Action, heroism, noble Theme intervals in Science Fiction causes, military - Independence 85 Aaron and Period intent and Day (1996): Copland’s hope. 84’ Fanfare for the common man Heart beat Referencing Rhythm. All. Danger, - Pearl motif Tchaikovsky’s suspense, Harbor Symphony death, (2001): 93’ No.6, this trope emotional pain, - Inception borrows that excitement. (2010): 31’ rhythm and is usually played by percussion, low strings or electronics. Hoe Down Named after Orchestration, Western. Cowboys, - Silverado Strings Aaron Melodic country life (1985): 3’ Copland’s Hoe contour, and and horseback - The Cowboys Down, this rhythm. riding. (1972): Main trope is Title characterized by a string section playing fast 16th note passages in the style of country fiddle. Mars Effect Composers Harmony, Adventure, War, battles, - Star Wars: A utilize a Orchestration Action, danger, New Hope variation on the and Rhythm. Fantasy, empires and (1977): 3’ chromatic Western, Epic oppressing - Gladiator harmony, and Period. ruling. (2000): 6’ orchestration - Eragon and character (2006): 85’ of the secondary theme from Holst’s “Mars” Ostinato Piano Referencing Rhythm, Drama, Sadness, - A Beautiful Philip Glass, Harmony and Science Scientific Mind (2001): the ostinato Orchestration Fiction, discovery, 22’ piano is an Suspense and intelligence, - The hours ostinato Thriller. Otherness. (2002): 15’ repetition of a slowly changing motif. The Rite of Many musical Harmony, Science fiction, Danger, - Indiana Spring devices, and Orchestration, thriller, ominous Jones: aspects of the Rhythm and adventure, presence, Raiders of piece by melodic horror, fantasy primal the Lost Arc Stravinsky are contour. and Western. instincts, (1981): 3’ used. Most primitive - Independence commonly the cultures, Day: 86 opening and unknown. Resurgence the Dance of (2016): 46’ the Young Girls.
Tropes from Iconic Association
Horns of Loud and long Orchestration and Action, Impending - Inception Doom pedal tones register Thriller and doom, (2010): 96’ played by the low Suspense. dangerous - Prometheus brass ensemble. action. (2012): 04’ First hear in Inception. Jaws Low register Orchestration, Thriller, Imminent - Jaws (1975): Strings ostinato in the register and Adventure danger, lurking, Opening lower strings. intervallic and comedic Titles Characterized by relationship. Suspense. association. - Pirates of minor or the dissonant Caribbean: intervals. First The Curse of heard in Jaws. the Black Pearl (2003): 20’ Western Comprised of Orchestration. Western. Cowboys, - The Good, Whistle whistled westerns and The Bad and oscillating gun duels. The Ugly intervals (often (1966): Main perfect intervals). Title First heard in The Good, The Bad and The Ugly.
87 BIBLIOGRAPHY
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90
VOLUME II
Quintet for Piano and String Quartet
91
INSTRUMENTATION
Violin I
Violin II
Viola
Violoncello
Piano
Duration: 21 minutes
92 PIANO QUINTET
I.
Fernando Arroyo García Lascurain (Los Angeles, Spring 2017) Allegro Moderato q=86 ° 4 Violin I &4 ∑ ∑ ∑ ∑ ∑
4 Violin II &4 ∑ ∑ ∑ ∑ ∑
4 Viola B 4 ∑ ∑ ∑ ∑ ∑
? 4 Violoncello 4 ˙ ¢ ˙ b˙ b˙ ˙ b˙ ˙ œ ˙ ˙ œ cresc. pp da lontano
Allegro Moderato q=86 4 &4 ∑ ∑ ∑ ∑ ∑
Piano pp {? 4 ∑ ∑ ∑ ∑ Œ ˙ 4 œ “‘
° & ∑ ∑ ∑
& ∑ ∑ ∑
B ∑ ∑ ∑
? œ Œ ¢ œ ˙ œ ˙ ˙ ˙
& ∑ ∑ ∑
˙ {? ˙ œ ˙ œ ˙ ˙ ˙ :“; 6
93 ° & ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
? ˙ bœ bw b˙ nœ b˙ nœ ¢ Œ Œ Œ p
& n˙ b˙ bw ˙ b˙b˙ b bw˙™ œ bb w bbw ˙ ˙ bbw b w pp
b˙ b˙ ˙ b˙ {? ˙ ˙ b˙ ˙ ˙ ˙ ˙ b˙ b˙ ˙ : ;˙ ˙ 9 “ pp
° & ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
#œ nœ ˙ #œ ? #˙ n˙ ˙™ œ œ #˙ J ¢ ‰
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#œ B #˙ ˙ ˙ n˙ w ˙ œ p
#˙ ? #˙ ˙ ˙ ˙ ˙ #˙ ¢ #˙ p
#w ∑ ∑ ∑ & ###ww
{? #w ∑ ∑ ∑ #w 17
> - ° œ w bœ n˙- œ #˙ - & J ‰ #˙ œ J ‰ #˙ mf
j ‰ b˙ & #w ˙ n˙ œ ˙™ ˙ > b˙™ b-˙ ˙ mf - - b>œ - w ˙ ˙ J ˙-™ #˙- #˙ B ‰ & mf - ? #˙ #œ œ n˙ bœ ˙ ˙- #˙- #˙ ¢ <#>œ
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° o j ‰ Œ œ™ bœ ˙ œ bœ ™ bœ n˙ & œ œ œ J #œ œ bœ J p mp cantabile
j & bœ ‰ Œ Œ ˙ b˙ b-˙ -œ b-˙ -œ b-˙ -œ p mp p
& j ‰ Œ Œ ˙ ˙ bœ -˙ -œ b-˙ -œ b-˙ -œ p mp p o ? ™ b˙- œ- b˙- œ- b˙- œ- ¢ Œ ˙™ Œ Œ Œ p - w - nw w & nw ∑ #w ∑
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™ ˙-™ #œ {? Œ ˙™ ∑ Œ #˙™ Œ bb˙ n œ ˙ & -˙™ 33
b˙ œ b˙ b˙ ° œ bœ bœ b˙ b˙ & Œ Œ f
b˙ b˙- b˙- n˙ œ bœ b˙ b˙ & n-œ bœ f
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˙- b˙ œ- b˙ œ ˙ B bœ bœ œ bœ b˙ ¢ f
:“; œ b˙™ loco œ ˙ n˙ bœ b b˙˙ #nœ bb ˙™ bœ ˙ b ˙ & Œ bb ˙ bœ Œ b ˙ œ b˙ œ ˙ bbb ˙˙
f
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B ∑ ∑ ∑ ∑
œ™ ? b˙ œ œ œ ˙ œ w w ¢ nœ J
. # #œ œ #œ # œ œ. # œ œ œ œ. bbœnn œ j œ ##œ œ J œ œ œ #œ #œ nœ. œ & ∑ ∑ ‰ J ‰ ‰ J J ‰ ‰ ## œ n œ
mp . ##œ nœ j j j #œ nœ { j ‰ Œ Ó ∑ ? ‰ # œ œ ##œ nœ ‰ ‰ #œ nœ #œ nœ ‰ ‰ ?## œ œ & nœ J & #œ œ # œ #n œ# œ n œ J &##œ . . . #œ 57
œ3 œ. ° œ. . #œ . œ ‰ Œ Ó ∑ ∑ œ œ ‰ Ó & J J f
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pizz. bœ > > > ? œ bœ œ œ œ œ ¢ Œ ˙ Œ bœ œ Ó œ f . œ bœ bœ ™ nnœ œ ˙ bœ œ ˙ œ œ bœ œ #œ œ w & J 3 f heroic
w { ˙ bœ bœ bœ œ œ bœ #œ™ œ & œ œ ˙ œ œ J œ 3 61 100 >. - - œ- bœ- nœ- œ ° œ- bœ œ . ∑ ∑ ‰ œ œ œ ‰ œ œ œ œ bœ. œ. ‰ Ó & J J œ. J 3 3 3 3 mf f 3
. 3 . 3 . 3 3 . 3 3 3 3 3 3 3 3 3 3 3 3 & bœ œ œ. œ œ œ. œ œ œ. œ œ. œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. .J .J .J .J mp ...... B œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 mp . . b>œ œ œ arco. . bœ. œ ------. bœ. œ œ œ. bœ. ? Œ ? ‰ . œbœ œ J ‰ Œ ‰ œ œ œ ‰ œ œ œ ‰ œ J ‰ Œ ¢ bœ bœ œ Jœ œ œ Jœ 3 3 3 3 3 3 3 3 mf œ œ œ b˙ œ bœ œ bœ œ ˙ b˙ ˙™ œ & Œ 3 3 (f)
b˙ œ { Œ bœ œ œ œ œ bœ œ ˙ b˙ ˙™ & œ
3 3 65
. . œbœ œ#œ œ - - œ- œ œ œ ...... ° œ bœ nœ œ œ œ#œ œ œ œ œ #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ ‰ œ œ œ œ J ‰ & J 3 3 3 3 3 3 3 3 3 3 3 3 3 3 mp f p mf
3 3 3 3 3 œ. œ. œ. œ. œ. œ. œ. œ. œ...... nœ. œ. œ. . . . œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ œ œ & nœ œ œ œ œ œ œ œ œ œ œ œ œ œ. . >...... 3 3 3 3 3 3 3 3 3 3 3 mfp >...... œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ...... œ. œ. œ. œ. œ. œ. œ. œ. œ. . . . B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 mfp o. 3 œ œ œ œ œ ...... œ- œ- œ œ- œ- œ œ. œ . 3 #œ. œ. œ. #œ œ œ œ œ œ œ œ œ œ. œ. œ. ? ‰ œ œ œ ‰ œ œ œ ‰ ‰ B œ Œ #œ œ œ œ. œ. œ. ¢ J J Jœ . . . . œ 3 3 3 3 3 3 3 3 3 . 3 mp mf p ˙ œ œ ˙ œ™ œ œ œ w w & J
˙ œ œ ˙ œ™ { œ œ œ w w ? & J
69 101 . ° œ & J ‰ Œ Ó ∑ ∑ ∑
œ & J ‰ Œ Ó ∑ ∑ ∑
. & œ ‰ Œ Ó Œ œ™ j b˙™ œ œ™ j J œ œ œ œ œ mf cantabile
B #œ ¢ J ‰ Œ Ó ∑ ∑ ∑
- #˙ ™ # ˙ ™ #n˙˙™ nœnœ#œ œ #œ œ œ œ œ œ œ bœ nœ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ & Œ ˙™ #œ#œ#œ nœ œ œ œ œ œ bœ - mp p Œ {? w ‰ Œ œ œ œ œ bœ œ œ œ bœ œ œ œ & j œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ w- œ œ œ œ œ œ œ œ œ œ œ œ œ 73 ° ° °
œ œ™ œ #œ œ nœ ° #œ J & ∑ ∑ Ó ‰ J mf
œ#œ œ œ œ™ & ∑ ‰ j #œ #œ nœ #˙ œ #œ œ nœ œ œ J 3 mf
& œ j ‰ Œ Ó ∑ ∑ nœ #˙ #œ
B ¢ ∑ ∑ ∑ ∑
“” nœnœœ#œœœœœœœœœœœœœ #œ œ œ œ œœœœ œœœœ œœœœ œœœ#œœœœœœ œ œ œ œœ œ œ œ œ œ œnœœ œnœ & œ #œ œ nœ œ
p poco a poco cresc. > #œ œ #œ- œ œ œ { nœ nœ ?#œ œ nœ nœ nœ nœ ? œ œ nœ ? #œ œ #œœ nœœ ? & œ #œœ œœ & #œ#œ œ#œ œ#œ œ œ œ œ & #œœ & sfp > 77 ° sfp 102 #˙ ° œ & Œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ p #œ œ œ œ œ œ & #œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œbœ œ œ œ œ œ œ œ bœ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ p
#œ œ. æ æ œ œ & æ æ #œ œ æ æ æ J ‰ Œ œ œ œ æ bœ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ mf p p œ B #œ œ #œ ¢ ∑ ∑ Œ J ‰ Œ Ó mp (respond to piano line)
:“; œ œ œ œ bœ™ ˙™ œ ™ œ œ#œ œ œ#œ œ œ#œ œ œ#œ bœ œ œ bœ bœ œ & Œ J J
mp nostalgic (bring out)
#œ œ œ œ œ œnœ bœ™ ˙™ œ bœ™ {? œ- œ œ œ œ œ Œ bœ œ œ bœ œ & J J
81
œ œ œ œ bœ œ bœ œ ° nœ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ & bœ nœ œ œ œ mp
bœ œnœ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œbœ œ œ œ œ œ œ œbœ œ œ œ œ œ & nœ œbœ œ œ œ œ œ œ œ mp
bœ bœ bœ œ bœ bœ bœ œ & bœ bœ œ nœ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ bœ bœ œ œ œ mp
bœ œ bœ b˙ bœ B Ó bœ J ‰ Œ Ó ‰ j bœ bœ œ bœ bœ ¢ œ œ mf
: ; “ bœ œ bœ bœ ˙ œ bœ œ bœ bœ œ œ œ™ œ bœ bœ bœ™ bœ & J nœ bœ J 3 mf
˙ bœ œ œ œ bœ bœ ™ { bœ bœ bœ bœ œ œ œ™ œ bœ bœ bœ bœ & J nœ J 3 85 103 œ #œ bœ œ œ œ ° œ œ œ J & ‰ Œ Ó ∑ Ó Œ œ p mp bœ œ œ œ œ œ œ œ bœ œ nœ bœ œ œ œ œ œ J ‰ Œ Ó ∑ Œ & -œ ˙ p mp
bœ œ bœ œ bœ œ œ œ nœ ‰ Œ Ó ∑ Œ & J ˙™ p p
b˙ B b˙ ? œ bœ œ b˙ nœ œ -œ œ œ ¢ - - -œ œ mp
:“; ˙ #w w loco œ œ nœ & bœ Œ ##w w ? œ
p poco a poco cresc.
˙ œ œ { bœ Œ ? w w œ œ œ & w w œ œ œ 89
>œ- > >- œ #œ œ- nœ >œ- ° bœ nœ œ ™ œ œ #˙ & œ œ œ #œ J f
n>œ- > >- > œ œ œ œ- œ œ- & ˙ œ œ œ #˙ œ #œ œ f
#œ #œ™ œ nœ & œ œ œ j Œ œ b˙ #œ #œ #œ -œ >- œ f > >- #œ ˙ ˙ œ œ œ œ œ œ œ #œ nœ ? B ? ¢ ∑ f w- œ œ #œ œ œ #w ? œ œ œ œ œ œ #œ J J #œ œ œ J J J J &
f
œ œ j œ œ œ #œ œ œ œ œ w- {? œ œ œ œ œ #œ #œ œ #œ œ bnw ? œ œ œ œ Jœ Jœ #œ J J #œ Jœ œ & w 93 104 >- >- œ œ œ >- b>œ œ œ œ œ œ . ° œ œ œ œ bœ #œ. œ & ‰ J ‰ Œ Ó ‰ #œ œ nœ œ ‰ ‰ œbœ œ œ œbœ œ œ J J #>œ mf > . . œ- >œ- b>œ œ #œ #œ nœ nœ & œ œ ‰ œ œ œ œ œ ‰ Œ Ó ‰ J J ‰ Œ Ó >- J mf
j & œ ‰ Œ Ó >œ ‰ #œ œ œ œnœbœ ‰ Œ ∑ œ >- -œ œ bœ J > >- >œ > ? >œ- >- j œ #œ œ œ œnœbœ #>œ œ œ œbœ Œ œ œ œ ‰ Œ Ó ‰ J ‰ Œ ‰ œ œ J ‰ Œ ¢ >- >œ f mf
b>œ œ . . b œ œnnœ œ #œ bw nœ Œ ‰ J œ œ ‰ Œ Ó ∑ & # w J nw- mf
™ j j j j {? ˙™ Œ ‰ nœ bœ œ œ ‰ Œ ‰ bœ œ nœ œ ‰ Œ Ó ˙™ nœ & bœ n œ œ.##œ nœ nnœ bbœ## œ nœ - nœ n œ . . . 97 - >
> . nœ > bœ œ œ œ œ œ œ œ . bœ . œ nœ. bœ nœ ° nœ œ œ œ œ œ œ J #œ œ nœ #œ J & ‰ J ‰ Œ ‰ ‰ Œ Ó ‰ J J ‰ ‰
#œ. nœ. . bœ nœ. œ b>œ œ œ œ œ œ b>œ œ œ œ œ œ #œ nœ J œ #œ n œ œ & ‰ œ J ‰ Œ ‰ œ J ‰ Œ Ó ‰ J ‰ ‰ J nœ
Ó ‰ ‰ Œ Ó nœ ‰ #œ œ œ œnœbœ ‰ Œ Œ ‰ nœ nœ nœ bœ. nœ & œ œ j J J # œ. n œ > œ œ œbœ b>œ . nœ #œ . ? n>œ #œ œ#œ œ nœ n>œ œ #œ œ œ œnœbœ J nœ bœ ¢ Ó ‰ J ‰ Œ Ó ‰ J ‰ Œ Œ ‰ nœ
. . bœ œnœnœ œ œnœ bbœ nœ œ #œ œ œbœbœ œ œnœ œ œ œ œ œ ∏ #œ ∏ œ ∑ Ó ‰ ‰ Œ Ó ∏ & J J ∏
j j j nœ œ nœ { ∑ Ó ‰ nœ bœ œ œ ‰ Œ ‰ bœ œ nœ œ œ bœ bœnœ œ nœ bœ œ œ nœ œ & œ #œ nœ n œ bœ# œ nœ n œ .# œ œ. nœ b œ. # œ œ. 101 105 . nœ œ œ#œ . bœ ° nœ J #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ & ‰ Ó
. œj j j œ œ œ bœ bœ & bœ ‰ B‰ bœ bœ ‰ #œ œ œ œ œ œ œ œ œ œ œ<#>œ œ œ œ nœ œ œ J nœ œ#œ œ . nœ œ œ œ œ J J . 3 f f p f heroic 3
? j j j j œ œ œ bœ bœ ¢ bœ ‰ Œ ‰ #œ bœ ˙ œ œ œ œ œ œ œ œ œ œ . #œ œ#œnœ ˙ œ œ œ œ œ œ œ œ œ J f fp . f heroic 3 3
œ b˙ # œ œ #œ b ˙ #n# œœ œnœ œ bœ œ œ œ J ‰ b˙ #n #œœ œ œnœ œ œ œ œ & b nœ n #˙˙ # œ œbœ b b œ # # ˙ fp f
bœœ œ { œ ‰ n˙ ? nœ œ œ#œ nœ nœ bœ & J # ˙ b œ & œ n n˙ nœ #œ ˙ œ œ. œ œ œ nœ œ œ œ #œ ˙ œ . nœ œ 105
˙ œ bœ bœ™ ˙™ ° bœ œ nœ bœ bœ bœ œ bœ & J 3
˙ bœ œ nœ œ bœ bœ™ j ˙™ & bœ bœ bœ œ bœ 3
bœ ˙ B œ nœ œ bœ bœ™ j ˙™ bœ bœ bœ œ bœ 3
˙ bœ bœ œ bœ ˙™ ? bœ œ nœ bœ Bbœ bœ™ J ¢ œ 3
œ œ œ bœ œ bœ œ œ bœ œnœ œ œ bœ œ œ bœbœbœ œbœ œœnœ bœ œnœ œbœ œ œ œœnœbœ & œ œ œbœ œ bœbœ œ œbœ œ œ œ œbœnœ œ œ 3 3
3 { bœ œ œ b bœ œ bœ bœ œ œ nœ bœ & œ œ bœ œ œ b œ &bœ bœ œ œ nœ nœ œ œ œ œ œ œ bœ bœ œ œ bœ n œ œ 108 106 ° j j & ∑ Œ ‰ œ #œ œ #œ œ œ #œ™ ff pessante
j j & ∑ Œ ‰ œ œ #œ #œ œ œ #œ™ ff pessante
#œ œ œ #œ œ #œ B œ™ J œ œ™ J œ œ #œ™ J ff pessante
œ œ #œ B œ™ #œ œ œ™ J #œ œ œ œ #œ™ J ¢ J ff pessante
“” . n œ. œ. œ. loco œ. nœnœ#œ œ #œ œ#œ #œ œnœ#œ œ œnœ#œ #œ nœ #œ. 3 #œ #œ n œ ‰ ‰ œ œ œ œ ## œ ‰ ‰ j J ‰ ‰ nœ œnœ œ#œ œ œ & J J J J J nœ œnœ# #œ œ#œn œ œ œ 3 3 3 3 # œ. 3 #œ ff . . j#œ œ#œnnœ #œnœ#œnœ 3 j . . œ œ œ { nœ œ ‰ ‰ œ nœ #œ œ 3 j ‰ ‰ ?œ œ œ #œ œ œ #œ œ ?œ œ œ#œ nœ œ œ œ œ & œ J J #œ nœ œ œ œ œ Jœ & œ œ . 3 3 . œ . 3 3 111
#œ™ œ bœ ° #œ œ J j j j j & J ‰ Œ Ó Œ ‰ œ œ ‰ Œ Ó ‰ bœ œ ‰ mf
œ™ nœ œ & œ œ J ‰ Œ Ó ‰ j j ‰ Ó Ó Œ ‰ j J œ œ bœ mf mp ™ œ #œ œ œ #œ B J J ‰ ‰ B j j ‰ Œ ∑ Œ ‰ œ #œ ‰ Œ & nœ #œ J J mf
#œ™ œ œ œ B J œ ?bœ œ ‰ ‰ ‰ Œ Œ ‰ œ nœ ‰ Œ ‰ j j ‰ Ó ¢ J J J œ #œ mf
nœ œ œ#œ œ#œ ™ nœ #œ œ œ œ œ nœnœ œ œ nœ b œ #œ n˙™ #œ œ & œ #œ œ œ œ J ‰ Œ Œ ## œ #n˙˙™ œ œ Œ Ó mf
œ #œ œ œ œ œ œ œ œ j œ bœ {? œ#œ œ œ œ œ œ ‰ Œ Œ ™ nœ œ ? #œ œ #œ nœ bœ & nœ #œ œ #˙™ # œ nœ ##œ #n˙™ œ n œ 114 107 o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. ° & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o...... pp nœ™ ˙ “” #œ #œ ˙ œ œ #œ™ n˙ œ #œ™ œ j ‰ J bœ ˙ œ J & œ J mf cantabile legato ...... œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. B #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp
? ∑ Œ #O ™ ‰ œO œO ‰ Œ Ó Œ #O ™ ‰ œO œO ‰ Œ Ó ¢ # œ J # œ J p lontano
& ∑ ∑ ∑ ∑ ∑
p j {? nœ ‰ Œ Ó ∑ ∑ ∑ ∑
118
...... ° œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. #œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ & #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o.
:“; œ #œ #œ nœ œ ™ ˙ œ bœ œ™ bœ & œ #œ œ #œ n˙ J ≈
...... œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ œ œ nœ œ œ œ o. o. o. o. o. o. o. o. B #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ o. o. o. o. o. o. o. o. & œ œ œ œ œ œ œ œ
™ ##œO ™ œO œO ? J B ¢ Œ ‰ ‰ Œ Ó ∑ ∑
& ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑
123 108 o o o o o o o o o o o o o o o o .j o. o. o. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ #œ . o. o. o. o. o. o. o. o. o. o. o. œ ‰ Œ J ‰ bœ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ & .J nœ œ œ œ œ œ œ œ œ œ œ o 3 3 3 3 3 3 3 3 3 3 3 f f p :“; loco œ 3 > > œ w ‰ j œ œbœ œ œ™ bœ œ J ‰ Œ ‰ j bœ œ œ œ œ & œ œ œ œ œ f 3
o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. 3 & œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ ‰ j œ œ œ™ bœ j ‰ Ó J J œ bœ œ œ 3 3 3 3 3 3 3 f o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. o. B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ ‰ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 p
& ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑
127
° 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 & œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. n#œœ nœ. œ. œ. œ. œ. œ. œ. œœ. œ. œ. n#œœnœ. œ. œ. œ. œ. œ. œ. œ œ. œ. >. #œ ...... >. #œ ...... f mp p fp > œ 3 3 3 3 3 3 3 3 3 3 & J ‰ Œ Ó Ó ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . . . >...... #œ. . . >...... #œ. . . p fp
3 3 & ∑ Ó ‰ j ‰ Œ Ó ∑ œ. œ. œ œ. œ. œ. p f o. B œ œ- J ‰ Œ Ó ∑ ? œ™ -œ œ -œ™ ™ ¢ > œ œ -œ œ™ œ ˙™ fp - - - ˙ sfp . . œbœ . . . . œ. #œ. . œbœbœ nœ. nœ œ#œ#œ œ œ-b œ-nn œ- b œ- n œ- 3 3 3 3 3 3 3 3 œ bbœ nœ œ n œ & ‰ J ‰ nœ bœ nœ œ. œ#œœ. œ. œ. œ. œ. œ. œ. œ.œ. œ. œ. œœœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. > > 3 3 3 3 3 3 mf p mf p lonatno
. . œbœ . . . œ. #œ. . 3 3 {? ∑ ∑ ‰ œbœ bœ nœ. nœ œ #œ. #œ œ ‰ œ bœn nœ bœ nœ & J œb œ n œ œ n œ n-œ b -œ - b -œ n -œ 3 3 3 131 3 109 ° 3 3 3 3 3 3 3 3 3 3 3 3 & nœœn#œœœœœœœœœœœœœœœœœ œœœœ œœœœœœœœœœœœœœ œœ œœœœœœ œœœœ œœ œœœœ œœœœœœœœœœœœœœ œœ œœœœœœ œœœœ œœ œœœœ ...... >...... >. . . . . >. . >. . . >...... >. . . . . >. . >. . . f
Ó ‰ 3 3 3 3 3 3 3 3 3 3 & œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ . . . . >...... >. . . . . >. . >. . . >...... >. . . . . >. . >. . . mf f
3 3 3 3 3 3 3 3 3 3 & Ó B‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œœœ . . . . >...... œ œ œ œœœ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œœœ mf f >. . . . . >. . >. >. > >...... >. . . . . >. . >. >. >
? 3 3 3 3 3 3 3 3 ¢ w œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w œ#œ œ œ œ œ œ œ œ œbœ. œ. œ. œ. nœ#œ œ œ œ œ œ œ œ œbœ. œ. œ. œ. . . . . >. . . . >. > . . . . >. . . . >. > f . . . . . > > > > > > > > > > . bœnœ. œ œ. #œ#œ#œ œnœ . bœ œ #œ œ œœ œœ œ >œ . bœ œ#œ œ œ œœœ œœ œ œ bb œ nœ nœbœ œ œ bœ œ œ œ nœ œ œ >œ & bœ #œ œ 3 3 3 3 3 3 3 3 3 3 3 3 mf f
3 . . > > 3 œ. . #œ. #œ œ. nœ j bœ œ > œ œœ >œ { bœ bœnœ. nœ œ#œ nœbœ œ ‰ Œ Ó œ. #œ œ œ œ ?œ & bb œ . œ œ œ > œ . 3 > 3 3 3 > 135 3 3
3 >œ 3 > nœ. > . . ° œ #œ #œ 3 3 nœ. . nœ #œ. nœ bœ . . #œ. œ j ‰ Œ Ó ‰ #œ œ# œ # œ j j ‰ nœ bœ nœ & #œ J #œ œ #œ #œ . n œ 3 3 3 3 ff ff dim. mf f cresc. . > >3 3 . > . œ bœ. #œ œ#œœ 3 j 3 j nœ nœ. nœ #œ nœ bœ. 3 & j ‰ Œ Ó ‰ #œ œ œ #œ #œ ‰ #œ nœ œ œ J nœ œ nœ. . . 3 3 3 ff ff dim. mf f cresc. > j3 3 . œ . 3 j 3 3 j œ j nœ œ. #œ . 3 B œ ‰ Œ Ó ‰ œ nœ œ #œ & ‰ œ nœ bœ. B œ œ œ œ œ ##œ nœ bœ. nœ. #œ. . > 3 3 > ff ff dim. mf f cresc.
? j 3 3 œ 3 œ œ #œ ? 3 3 ¢ œ ‰ Œ Ó ‰ œ œ œ j J œ J Ó bœ œ nœ œ œ œ #œ nœ . bœ. nœ. #œ. . > 3 > ff ff dim. mf f > œ. . œ #œ. œ 3 3 nœ 3 œ œ. > . . #œ œ #œ œ œ n œ œ 3 œ nœ bœ bœ. nœ. #œ. œ & # œ nœ ###œ#n#œœ nœ nnœ ###œ n#œœ ∑ ‰ œ J J J J bœ nœ #œ 3 3 ff f cresc. 3 3
3 3 3 3 > 3 j j j j œ. . œ #œ. 3 {? œ nœ œ ##œ nœ œ œ #œ ∑ ‰ œ œ. ‰ ? œ œ œ œ & nœ nœ nœ œ #œ nœ œ œ œ bœ œ #œ. œ. 3 3 > . . 138 110 . . œ œ œ#œ. œ œ . . ° 3 3 3 3 #œ #œ œ . #œ #œ. nœ. . nœ j ‰ J ‰ œ #œ nœ. nœ nœ #œ #œ. & œ. œ#œ œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. > 3 3 3 fp 3 3 œ. . œ. #œ œ nœ#œ 3 3 3 3 3 j J 3 3 3 & œ ‰ ‰ #œ œ œ #œ œ œ œ œ œ œ œ œ œ œ#œ œ œ . . œ. . #œ. #œ nœ nœ. nœ#œ >...... 3 . nœ . #œ. fp
. . 3 #œ. œ . . . . bœ nœ j 3 B ∑ bœ bœ nœ nœ œ. bœ. bœ ‰ j ‰ nœ œ. #œ. nœ nœ nœ #œ. 3 #œ. p 3 3
. 3 . œ. . . . . bœ 3 ? ∑ #œ bœ bœ nœ nœ œ. nœ bœ bœ j ‰ j ‰ ¢ . nœ œ. #œ. nœ nœ nœ #œ. 3 #œ. p 3 3
>œ. nœ œ. œ. 3 3 3 3 3 3 3 3 3 3 #œ . . nœ œ œ & œ œ œ. œ. œ. . œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 > >. . >. . >. . >. . mf 3 p
>œ. œ œ œ. œ. œ. œ. œ. œ. œ. . œ. œ. >œ. œ œ œ. œ. œ. œ. œ. œ. œ. . œ. œ. {? ∑ #œ #œ fp 3 3 3 3 3 3 3 3 141
- - > 3 3 3 3 - œ- œ œ œ #œ œ œ #œ ° nœ œ œ œ œ œ #œ #œ #œ j3 3 & œ œ œ œ œ œ n œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ # œ # œ #œ œ j #œ. œ. œ. œ. œ. œ...... J J J J n#œ #œ 3 3 3 3 3 3 f ff
> j 3 . 3. . . 3. . 3 3 3 3 3 3 #œ œ #œœ j 3 j & #œ œ œ #œ #œ #œ‰ œ œ œ‰ œ œ nœ œ œ œ œ œ #nœœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ J nœ œ ...... 3 3 f ff
...... j3 3 B 3 3 nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ 3 j 3 j nœ œ œ j #œ #œ œ œ œ œ n œ œ œ œ œ œ œ œ œ #œ #œ . . . . 3 3 3 3 œ # œ nœ 3 > 3 ff
arco 3 3 3 3 3 j j 3 3 ? . #œ. nœ. 3 j œ œ œ #œ ¢ ‰ #œ. #œ nœ J ‰ Œ ‰ œ œ œ ‰ œ œ œ œ œ j J œ J #œ. -œ -œ œ -œ -œ œ œ œ œ #œ 3 3 mf f ff
#œ œ #œ œ nœ n œ œ œ & ∑ ∑ # œ nœ###œ#n#œœ nœ nnœ ###œ n#œœ J J J J 3 3 3 3 ff 3 j 3 j j3 3 j {? ∑ ∑ œ œ œ ##œ nœ œ œ #œ œ œ œ œ œ œ œ #œ nœ œ œ œ 144 111 n >œ ...... ° nœ #œ #œ 3 3 3 nœ œ œ œ œ œ œ œ ...... ‰ #œ nœ # œ # œ j j . bœ œ œ œ œ œ œ œ œ œ œ œ & J #œ œ #œ #œ nœ. œ. œ n œ œ 3 3 3 3 3 3 3 3 . 3 f p ...... > j3 3 ...... bœ œ œ œ œ œ œ œ œ œ œ œ ‰ #œ œ #œœ #œ œ j nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ J nœ œ #œ #œ 3 3 3 3 3 3 3 3 3 3 f p sub.
3 3 j3 3 j ˙ bœ bœ œ B ‰ j nœ œ œ #œ œ bœ ˙™ œ œ œ #œ œ # œ nœ 3 > f
3 3 3 œ bœ bœ j œ œ ? ‰ j œ œ œ #œ œ ˙ bœ œ œ ‰ ¢ œ œ œ #œ J J œ œ 3 > 3 f
“” n#œ n œ #œ œ nœ n œ œ œ nœ loco ‰#n œ nnœ## œ# # œ nœ nnœ # #œ # œ n œ ‰ Œ Ó ∑ & #œ n œJ J # œ n œJ J p 3 3 3 3
3 3 j j3 3 j {? ‰ nœ œ œ ##œ nœ œ œ #œ nbœ ‰ Œ Ó ∑ œ œ œ œ œ œ nœ œ œ #œ nœ œ œ œ J 147
œ™ ˙™ ° œ œ nœ œ œ & ‰ J J ∑ ∑ f
œ œ & ‰ j œ™ j œ ∑ ∑ œ œ œ œ œ f
pizz. œ œ nœ B bœ œ œ Ó ∑ ∑
œ pizz. ? J ‰ Œ Ó Œ œ bœ ‰ œ ‰ œ ‰ œ ‰ j ‰ j œ ¢ œ J J J bœ œ bœ œ œ #œ nœ
3 3 3 3 3 3 3 b bœœ œœ #œ œ 3 3 3 3 3 œ b œ œ œ # œ œ #œ 3 3 3 3 œ œnœ œ œ # œ œ b bœœ œœ #œ œ œ & #œ nœ œ # #œ œ œ œ nœ b œ œ œ œ œnœ# œ œ œ œ #œ #œ œ œ œ # œ#œ œnœ œ#œ œ œ #œ nœ# œ œ œ#œ œnœ œ#œ œ œ
f œ œ œ œ {? œ #œ œ #œ #œ #œ & 150 112 . . . . bœ bœ œ...... œ. nœ bœ œ œ œ œ™ ˙™ ° œbœ 3 . . . . œbœ œ œ . J ‰ J ‰ bœ œ œ œ œ. œ œ œnœ J ‰ J J nœ œ & œ œ. œ. œ œ œ J 3 . 3 3 3 3 3 mf 3 f ...... bœ. œ. œ. œ. œ. œ. œ. . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ j ˙™ & J ‰ Œ Œ ‰ nœ œ 3 3 3 3 3 3 3 3 mf f bœ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. a.rco...... bœ. . B œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ ‰ Œ Œ ‰ j ˙™ J nœ œ 3 3 3 3 3 3 3 3 mf f
a.rco. . . œ œ œ#œ œ bœbœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ bœ œ™ ? œ Œ Œ J ‰ J J j ¢ œ nœ œ œ 3 3 3 3 3 3 3 ˙™ . mf f
” “ ˙™ loco bœ #œ nœ œ œbœ bœ œ b œ œ œ# œ 3 3 ‰ nœ œ bœ bbœ nœ œ & J œ œ nœ #œ œ ##œ #œ œÓ œ j œ 3 œ 3 3 #œ
> ° œ #œœœœnœbœ > > œ ‰ J ‰ Œ Ó bœ ‰ œ œœœ œ Œ ‰ bœbœœœ bœ ‰ œ œœœ œ œ œœœ nœ & b>œ œ œœœœ mf
n œ . œ ‰ œ bœ ‰ Œ Ó nœ ‰ œ Œ ‰ bœ œ ‰ Œ œ ‰ œ bœ œ œ œ & > #œ œœ nœ J > #œ œœnœ J J > #œ œœnœ œ œ mf
j > > . bœ œ #œ œœœnœ œ #œœœœnœbœ œ #œ j B ‰ Œ ‰ ‰ J ‰ Œ & Œ ‰ J J ‰ Bbœ ‰ nœ bœnœœbœ œ ‰ œ ‰ nœœ œœbœ >œ > > > mf
> > > > ? j œ #œ œœœnœ œ #œœœœnœbœ >œ œ œœbœ nœ #œ œ œœnœb>œ œ #œœnœœnœ ¢ œ ‰ Œ ‰ ‰ J ‰ Œ ‰ œ œ J ‰ ‰ J ‰ ‰ >œ mf
. œ nbœ b œ œ. œ . bœ n >˙ œ Œ ‰##œ œ ‰ ‰nnœ #œ ‰ Ó Ó ‰ #œ #œ nœ nœ ‰ Œ ###˙ & b bœ J J J J J J n >œ mf
j j j j j {? #œ Œ ‰ bœ œ ‰ ‰ œ œ ‰ ‰ bœ j ‰ ‰ j j ‰ ‰ j j ‰ Œ n œ bœ #œ nœ œ #œ nœ œ & nœ b œ. ##œ nœ nnœ n# œ n œ nbœ nœ . bœ ##˙ & > . . n œ . #˙ 158 > 113 . bœ >œ #œ œ œ œnœbœ >œ œ bœn œ . bœ . bœ nœ. bœ nœ nœ œ#œ ° J #œ œœnœ #œ #œ nœ nœ J œnœ J & ‰ ‰ Œ ‰ J ‰ ‰ ‰ Ó f p f p . . #œ. nœ. œ bœ. bœ nœ #œ œ j nœ ‰#œ œ œ œnœbœ ‰ Œ œ ‰ œ bœ œ bœ J ‰ ‰ œ œ œ #œ bœ ‰ Œ & > J > #œ œœnœ J nœ œœœ f p f p
n>œ #œ œ œ œnœ >œ #œ œœœnœbœ bnœ nœ. b œ bœ. nœ bœ. j œ B j ‰ Œ ‰ ‰ J ‰ Œ Œ ‰ J # œ nœ J ‰ ‰ œ œnœ j ‰ b>œ #œ œ#œ f mf p f (f) p #œ. > >œ #œ œ œ œnœ >œ œ bœ nœ ? bœ ‰ Œ ‰ ‰#œ œœnœ J ‰ Œ Œ ‰ J nœ bœ. j ‰ Œ ‰ j ¢ J nœ bœ. œ #œnœœbœ f mf p f (f) . “” bœ œnœ œ œ bœ. # œ n œ. œ . bœ . . bœbœbœ œnœbœ œ œnœ œ nœ # ˙ ##œ œ nnœ #œ #œbnœ nœ œ œœ J ###˙ #œ & Ó ‰ J J ‰ Œ ‰ n#nœ
mf p . j #œ. nœ œ bœœ œ œ { Ó ‰ bœ œ œ œ nœ bœ . bœ bœbœbœ œnœbœ œ œnœbœ œ œ œ ‰ n˙ ?n#œ nœ & n œ bbœ #œ nœ n œn #œn nœ bœœ J n ˙ & nœ . # œ œ. nœ # œ. n œ n œ. n n˙ 162
° & ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
nœ™ b˙™ œ ™ j B Œ œ œ bœ bœ œ œ ˙ œ J nœ mf cantabile
pizz. bœ nœ bœ ? j ‰ nœ Œ œ ‰ J œ bœ bœ bœ ‰ j ‰ bœ ‰ nœ bœ bœ nœ ‰ J nœ nœ œ ¢ nœ nœ œ bœ J J p
œ nœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ & nœ œ œ œ œ œ bœ œ bœ œ bœ œ œ nœ œ œ œ p poco a poco cresc. p #>œ { œ œ œ œ bœ œ œ œ bœ œ œ œ nœ œ ?#œ & œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ sfp 166 ° ° ° 114 bœ œ™ #˙ ° œ œ bœ œ ∑ Ó ‰ œ #œ J Œ & J mf
œ œ bœ œ™ #˙ & ‰ j #œ nœ #œ ˙ œ #œ œ bœ œ Œ œ œ œ J 3 mf œ B J ‰ Œ Ó ∑ ∑ ∑
#œ œ œ œ œ bœ ? #œ Œ œ œ œ œ œ Œ œ œ #œ œ ¢ œ œ #œ œ
œ œ œ œ œbœ œ œ œ œ œ œ œ œbœ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œ bœ œ bœ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ
<#>œ œ- œ œ #œ œ œ œ œ œbœ {? <#>œ œ œ œ œ ? œ œ œ ? œ œ œ bœ œ ?œ œ- œ bœ œ œ œ & œ#œ œœ œœ œ œ & œœ œ & & >œ œ 170 sfp
° #œ œ#œ œ œ & #œ #œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œnœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ œ p
& œ œ#œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ p
#œ œ œ B œ #œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ p
arco nœ #œ œ œ ? œ œ ¢ #œ Œ Ó Œ J ‰ Œ Ó Ó mp (respond to piano line)
#œ™ n˙™ œ œ™ œ nœ œ #œ nœ œ #œ #˙ & Œ J J
#œ™ n˙™ œ ™ j { Œ nœ œ #œ nœ œ œ #˙ œ & J #œ
174 115 nœ ° #œ œ œ œ œ œ œ œ #œ œ#œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œnœ œ œ œ œ œ #œ #œ#œ œ œ œ œ œ œ œ & #œ œ œ œ
#œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ
#œ œ œ œ #œ #œ nœ œ œ œ œ œ nœ œ #œ œ #œ #œ nœ œ #œ #œ œ œ œ œ œ œ B #œ œ œ œ
#œ nœ #œ #˙ œ #˙ ? J j œ #œ #œ œ nœ ¢ ‰ Œ Ó ‰ #œ #˙
nœ #œ œ #œ œ œ ™ œ #œ™ #œ #œ #œ #œ œ #œ #œ #œ nœ #œ #˙ & J J Œ 3
nœ 3 j j { #œ œ #œ œ #œ œ #œ™ œ œ #œ™ nœ Œ ? & #œ #œ #œ #œ #œ #œ #˙
178
nœo ˙o œo wo ° & ∑ ∑ pp
œo ˙o œo wo & ∑ ∑ pp
B ∑ ∑ ∑ ∑
pizz. ? Œ Œ Œ Œ Œ Œ Œ Œ ¢ œ œ œ œ œ œ p œ œ
bring out top voice & ˙ w #˙ n ˙ b˙™ œ bnw˙ bw n ˙ n ˙˙ bnw w p ˙ ˙ {? n˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ n˙ ˙ ˙ 182 pp 116 ° & ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑
? œ Œ œ Œ Œ Œ Œ Œ Œ œ Œ ¢ #œ #œ #œ #œ œ
b˙ nœ œ œ #˙ ˙ ˙ n#˙œ #œ & œ ˙ n œ œ ##˙ œ #˙˙ ##˙#˙ nn#˙œ œ ˙ œ b˙ #˙ #œ #˙
˙ {? œ œ #˙ #œ ˙ #˙ ˙ œ ˙ #œ ˙ n˙ œ œ œ #˙ #˙ ˙ n˙ 186
° ∑ j ‰ Œ bœ & #œ ˙ œ b˙ œ bœ b˙ mf mp
& Œ ‰ ˙ #œ ˙™™ w #˙ #˙ mp p
B œ nœ ˙ b˙ ˙ ˙ #w #˙ p
arco ? b˙ ˙ b˙ b˙ ˙ ¢ b˙ ˙ b˙ p
& bw ∑ ∑ ∑ nww
{? ∑ ∑ ∑ bw bw 190 117 - ° > - b˙ nœ ‰ w œ ‰ #˙- œ b˙ & J #˙ #œ J mf
j ‰ & #w n˙ œ ˙™ ˙ ˙ #˙ > -
bw ˙ #˙ n>œ - b˙- B J ‰ &-˙™ b˙ mf - ? b˙ bœ œ œ ˙ - b˙- b˙ ¢ œ ˙ ˙
& ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ &
194
b˙ bœ ° ˙ ˙ œ œ œ œ & ˙ Œ ˙ f
b˙ œ ˙ & œ bœ ˙ b˙ œ #œ #˙ œ f
œ œ & nw œ b˙ œ ˙ #˙ b˙ f b˙ œ ˙ bœ nœ ? œ b˙ bœ œ #œ #œ œ bœ ¢ & f
“” b ˙™ loco œ ˙ bb˙™ œ ˙ b˙˙ Œ bœ & b ˙ b˙ b˙ b˙ b˙ bœ f ˙™ b˙ { ˙™ ? ˙ Œ & ˙ b˙ b˙ bœ < >œ ˙ b˙ b˙ n œ ˙ b˙ b˙ b˙ bœ 198 118 > -. ------#œ- >- >- > >- >- >- >œ- >- >œ- >- ° nœ œ œ œ œ œ œ œ œ œ œ #œ œ #œ- œ œ #œ >- >œ- œ œ œ œ >œ- & Œ #œ 3 3 3 3 mf ff
œ- #œ- œ- œ- œ- #œ- œ- œ- œ- œ- œ- #>œ- >- >- >- >- >- >- & Œ #œ œ œ #œ œ œ œ œ œ œ >- #-œ œ >- #œ -œ - -œ 3 3 3 3 > >- > > > mf ff
œ- œ- œ- œ- œ- œ- œ- œ- 3 >- >- & Œ B Œ #œ -œ -œ #œ Œ -œ œ œ œ œ -œ œ œ œ >- > #-œ œ > >- #œ > - > -œ 3 3 3 - - - > >- > > mf ff
3 3 - - - œ- œ- œ- #œ- ? ? ¢& Œ œ œ œ Œ Ó Œ œ #œ ∑ Œ -œ œ nœ œ œ œ œ >- >- #œ > >- -œ - - - - - 3 3 >- > mf ff ff > > b bœ w >- ™ b œ w bw ˙™ b˙™ œ w bnbw œ #˙™ & b˙™ bœ w nw #œ n˙™ ™ b œ w # w -œ b ˙™ b˙™ œ w nw- > b˙™ > > ff > > b w- >œ- # w- {? bw™ bœ ? n#˙w™ w w #˙™ ˙™ w w ˙™ bœ ˙™ nœ >- bœ nœ 202 >-
bœ œ nœ œ œ bœ œ œ #œ nœ œ œ 3 œ 3 bœ œ bœ ° œ œ #œ œ œ œ bœ nœ nœ œbœ bœ nœ nœ bœ & œ bœ nœ nœ nœ œ œ bœ bœ 3 3 3 f cres3c. 3 3
œ bœ œ œ #œ nœ œ œ 3 3 3 3 3 3 œ 3 3 & œ bœ œ œ #œ nœ œ œ œ bœ nœ œ nœ œ bœ œbœ nœbœ bœ œ œbœ nœnœ œ bœbœ nœ bœ f cresc. œ
3 3 3 3 3 3 3 3 B œ bœ bœ œ œ œ #œ nœ nœ œ œ œ œ bœ œ nœ nœ bœ bœ œ œ œ œ œ #œ œ œ œ bœ nœ nœ œ œ œbœ œbœ nœ nœ bœ f cresc.
? 3 3 3 3 3 3 3 3 ¢ œ bœ bœ œ œ œ #œ nœ nœ œ œ œ œ bœ œ nœ nœ bœ bœ œ œ œ œ œ #œ œ œ œbœ nœ nœ œ œ œbœ œbœ nœ nœbœ f cresc.
˙-™ 3 œ bœ œ bœ œ ˙™ œ œ œbœ nœ œ bœ & œ #˙™ Œ œ bœ œ Œ Œ #œ >- 3 3 3 3 f cresc. ˙-™ >- ˙™ w 3 b˙™ b w 3 3 3 3 {? œ ˙ bw™ Œ œ Œ Œ bœ #˙™ bœ œ bœ œ bœ nœ nœ œ bœ bœbœ >- ˙™ œ œ œbœ nœ 208 bœ >- - > 119 œ. bœ nœ œ bœ œbœ nœ œ bœ œ œnœ œ œ œ œ œ œ œ œ œ œ#œ ...... ° nœbœnœ œ œ nœ œ œ nœ œ œœœ œ œ œ œ œ œ œ bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. & œ œ œ æ æ æ agressivo o o o 3 3 3 3 3 3 3 3 ff p o o o o æ æ æ æ ...... bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ nœ œ bœ œ bœ nœ œ #nœnœ œnœœœ œnœ œœœ œ œ œœœ œ#œ nœ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & nœbœnœ œ œ nœ œ œ nœ agressivo 3 3 3 3 3 3 3 3 ff p >. bœ nœ bœ bœ nœ bœ nœ œ œnœ œ œ œ œ œ œ#œ œ B nœbœ œ œ œ œ œ œ œnœ œ œ æ æ œ ‰ Œ Ó ∑ nœ œ nœ æo æo J agressivo f
˙ bœ bœbœ œ œ ? bœ nœ œ bœ œ bœ nœ œ bœ œ œnœ œ œ œ œ œ œ œ œ œ œ#œ Bœ. ˙ œ ¢ nœbœnœ œ œ nœ œ œ nœ œ œ æ 3 agressivo o ff f heroic > œ œ œ#œ œ. . bœ bœ nœ œ œ bœ bœ nœnœ œ œ bœ œnœ œnœ œ œ œ œ œ œ œ œ œ œ œ nœ œ nœ œ. ∑ & œ. œ. œ. œ. 3 agressivo f p
œ œ œ#œ œ {? bœ Œ nœbœ œ bœ œnœ œnœ œ œnœ œ œ œ œ œ ‰ ∑ nœbœ &bœ nœ J nœ œ bœ œ. œ. œ. œ. 212
...... > ° bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. & bœ. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 fmp œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b>œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. & œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œœ œ œ œ n œœ œ œ œ œœ œ œœ œ œ b œ œ œ œ œ œ œ œ œ œœ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 fmp
B ∑ ∑ ∑ Ó Œ b3œ œ b˙ b˙
f
#œ™ œ bœ œ œ n˙ œ B bœ œ J w bœ œ ?bœ œ b˙ b˙ ¢ Œ f 3 3 . n œ. > . bbœn œ b œœ bœ. bœbœ. nœ b œ œ. œ . bœ .b œ œ ∑ ‰ bœnœœ J ‰ J ‰ bœnœœ ∑ ‰b œ bœ J ‰ J ‰ & J bœ. œ œ œ. œ J mp playful 3 fp mp playful
f . j b œ œœ. œ j bœ. bœ. { ∑ ‰ bœ . bœ œ ‰ œ ‰ bœ ‰ j ‰ Œ Ó ‰ j bœ œ ‰n œ ‰ & b œ œœ J J b œ œ œ œ œ bœ bœ bœ J J . œ. 216 120 ° bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ...... bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ...... #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. & bœœœœœœœœœœœ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œœœœ œ œ œ œœ 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
...... 3 3 3 3 bœ œ œ œ œœœ œ œ œœœ nœœœœœœœœœœœ œ œœœœœœœœœœœœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. & b œ œ œ œ œœœ œ œ œœœ b œœœœœœœœœœœ œ œœœœœœœœœœœœ œ œ œ œ œ œœœœœ œ œ #œ œ œ œœœœ œ œ œ œœ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 œ™ ™ b˙ œ œœ ˙ œ w w B ˙ œ œ J
˙ œ™ ? ˙™ b˙ œ œœ œ w w ¢ œ œ J
. bœ . bœ. œnœ œ. bœ. # #œ œ #œ b œbœ œ œ œ œ # œ œ. # œ œ œ œ. bbœnn œ j œ J b œ ##œ œ J œ œ œ #œ #œ nœ. œ & ‰ Œ ∑ ∑ ‰ J ‰ ‰ J J ‰ ‰## œ n œ 3 mp
bœ . bœ. œ œ. . 3 j j j { ‰b œ bœ œ œ#œ œ bœ j ‰ Œ Ó ∑ ‰ j ##œnœ ‰ ‰ #œ nœ #œ nœ ‰ ‰ & bœœœ # œ # œ œ œ j œ J . . . nœ. ##œ nœ œ œ œ n œ. # œ n œ. #œ nœ#œ 3 œ # œ œ œ 221 #œ . # œ
œ œ. œ œ. >œ. ° œ. #œ >. . œ . œ ‰ Œ Ó ∑ ∑ ‰ œ œ#œ œ œ & J >œ. œ. 3 f 3 3 3
3 3 3 3 3 3 3 3 > 3 . 3 . 3 . . 3 & œ#œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ bœ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ #œnœ œ#œnœ œ#œnœ œ œ œ#œ œ . Jœ œ . Jœ œ . Jœ Jœ œ . fmp 3 3 3 3 . . . . f
3 3 3 3 3 3 3 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3 3 B ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ œ œ. œ œ œ. œ. œ œ ...... >. . . . mp f
pœizz. bœ œ >œ >œ ? Œ Œ bœ bœ Ó œ ¢ ˙ œ >œ f . œ bœ bœ ™ nnœ œ ˙ bœ œ ˙ œ œ bœ œ #œ œ w & J f 3
w { ˙ bœ bœ bœ œ œ bœ #œ™ œ & œ œ ˙ œ œ J œ 3
226 121 - bœ- nœ >œ pizz. arco . . - bœ- œ nœ œbœ. . ° bœ. bœbœ. bœ œnœ œ œ œ œ œ œ >œ. nœ. œ#œ œ#œ & Œ bœ œ Ó ‰bœ. J J ‰ J J ‰ ‰ æ æ æ bœ 3 3 3 > 3 3 3 3 3 3 (f) mf f mf f
. 3 . 3 . 3 3 . 3 3 3 3 3 3 3 3 3 3 3 3 bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ. œ œ œ. œ œ œ. œ œ. œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .J .J .J .J mp ...... B œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 mp . . bœ arco. . bœ. œ 3 - - 3 3 - - 3 . bœ. œ œ . bœ. ? Œ ‰ . œbœ œ J ‰ Œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ J ‰ Œ ¢ b>œ œ bœ bœ œ Jœ œ œ Jœ 3 3 3 3 (f) mf f mf f œ œ œ b˙ œ bœ œ bœ œ ˙ b˙ ˙™ œ & Œ 3 3
b˙ œ { Œ bœ œ œ œ œ bœ œ ˙ b˙ ˙™ & œ
3 3 230
œo nœ. œ bœ œ #œ 3 - - 3 œ œ œ ...... ° œ bœ nœ œ œ œ #œ œ œ œ œ #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ œ œ œ J ‰ & J 3 3 3 3 3 3 3 mp 3 f p
3 3 3 3 3 œ. œ. œ. œ. œ. œ. œ. œ. œ...... œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ & nœ œ œ œ œ œ œ œ œ œ œ œ œ œ. . >...... 3 3 3 3 3 3 3 mfp >...... œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ...... B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 3 3 3 3 3 mfp o. 3 œ œ œ œ œ œ- œ- œ œ- œ- œ œ. œ . 3 #œ. œ. œ. ? ‰ œ œ œ ‰ œ œ œ ‰ ‰ B œ Œ #œ œ œ œ. œ. œ. ¢ J J Jœ . . . . œ 3 3 3 3 3 . 3 mp mf p ˙ œ œ ˙ œ™ œ œ œ w & J
˙ œ œ ˙ œ™ { œ œ œ w & J
234 122 ...... >œ n >œ ° #œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ 3 3 nœ #œ #œ 3 3 " #œ œ # œ # œ j j ‰ #œ nœ # œ # œ j j & J J #œ œ #œ #œ J #œ œ #œ #œ 3 3 3 3 n œ n œ f ff 3 3 3 3 j ...... > j3 3 > j3 3 #œ œ œ œ œ œ nœ œ œ nœ œ œ #œ œ #œœ #œ œ j ‰ #œ œ #œœ #œ œ j " & nœ J nœ œ #œ #œ œ J nœ œ #œ #œ 3 3 3 3 f ff 3 3 3 3
...... 3 3 j3 3 j 3 3 j3 3 j " & œ œ œ œ œ œ œ œ œ œ œ œ B j j nœ œ œ #œ ‰ j nœ œ œ #œ œ œ œ ##œ nœ œ œ œ ##œ nœ & 3 3 3 3 > > f ff
#œ. œ. œ. œ. œ. œ...... 3 œ œ œ œ œ œ 3 3 nœ œ 3 3 œ 3 œ B ? j œ j J œ œ #œ ‰ œ j J œ œ #œ ¢ nœ œ œ #œ J œ œ œ #œ J & 3 3 3 3 œ 3 œ 3 " f ff >
w “” #œ œ #œ œ nœ n œ œ œ n#œ n œ #œ œ nœ n œ œ œ " # œ nœ## œ# # œ nœ nnœ # #œ # œ ‰#n œ nnœ## œ# # œ nœ nnœ # #œ # œ ? & J #œ n œJ J # œ n œJ #œ n œJ J # œ n œJ 3 3 3 3 3 3 3 3 ff 3 j 3 j j3 3 j 3 3 j j3 3 j { w ? œ œ œ ##œ nœ œ œ #œ ‰ nœ œ œ ##œ nœ œ œ #œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ nœ œ œ œ nœ œ œ #œ nœ œ œ œ " 237
Maestoso q=100 molto rall. “” >o n>˙ > > > b>˙ n>œ b>˙ >˙ w> œ ° nœ b˙ b>˙ bœ & Œ J ‰ Œ Ó ff sffp ff o n>˙ > > > > b>˙ >˙ w> >œ n>œ b˙ b>˙ bœ b˙ nœ & Œ J ‰ Œ Ó ff sffp ff > > >œ >˙ >œ b>˙ b˙ b>œ >˙ >œ b˙ >˙ w> & Œ J ‰ Œ Ó ff sffp ff o > > > >œ >˙ >œ >˙ >˙ >œ >˙ >œ ˙ ˙ w ¢& Œ J ‰ Œ Ó ff sffp ff #˙ loco bœ n# ˙ >˙- n ˙ bn ˙ bbœ n˙ bœ b ˙ nnœ #˙ # ˙ n>œ ? n˙ n˙n˙ b˙ bœ b˙ œ b˙ nœ #˙ #˙ nœ n ˙ & b˙ ˙ œ b ˙ #n ˙ ‰ Œ Ó bb˙ b˙ œ #˙ J ff sffp ff
>œ {? Ó b ˙ ? b˙ nn˙ ? œ ‰ Œ Ó & ˙ bw bw b ˙ & n˙ J nw n˙ bbw bbw b˙ ˙ ˙ >- 240 nw b˙ ˙ 123 II. Maestoso q=60 w ˙ o o con sord. ˙ w ˙™ ° 4 3 &4 ∑ 4 pp con sord. w ˙ #˙ ˙ n˙ #˙™ 4 3 &4 ∑ 4 pp con sord. ™ 4 w ˙ #˙ w 3 ˙ &4 ∑ w ˙ 4 pp
? 4 3 ¢ 4 ∑ ∑ ∑ ∑ 4 ∑
Maestoso q=60 b˙ ˙ ˙ #˙™ 4#w w b ˙ ˙ 3 ˙ ? 4 w w Ó bb˙ ˙ 4 #˙™ & #w #w
pp 4 3 {? 4 w w 4 ˙™ w w w w ˙™ w w 1
° ™ 4 & ∑ ˙O™ ˙O™ ˙O ™ œO ##˙O 4 p
∑ ™ ™ O ™ O 4 & ˙O™ ˙O™ ˙ œ bb˙O 4 p o ™ o ™ ˙ ˙ 4 & ∑ ∑ Œ Bb˙O 4 p co™n sord. ™ ? ˙O ™ ˙O ™ #O ™ O nO 4 ¢ ∑ # ˙™ œ n ˙ 4 p
4 & ∑ ∑ ∑ ∑ ∑ 4
˙™ ˙™ ˙™ ˙™ ˙™ ™ ™ ™ ™ ™ {? ˙™ ˙™ œ™ œ œ ˙™ ˙™ 4 4 œ œ ˙™ ˙™ 6 J 124 ˙ wo wo ˙o ™ œo ° 4 3 &4 Ó 4 Œ Œ p #˙ ˙ n˙ #w ˙™ œ 4 3 &4 Ó 4 Œ Œ p o o ™ o 4 #˙ w w 3 ˙ œ B 4 Ó & 4 Œ Œ p
pizz. ? 4 w w ˙ œ 3 œ œ ¢ 4 w w ˙ Œ 4 Œ œ Œ œ pp
b˙ ˙ ˙ #w 4 Ó b ˙ ˙ w 3
11
° & ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
? œ #œ œ œ œ j œ œ #œ ¢ Œ œ Œ #œ ‰ J ‰ J ‰ œ ‰ J Œ #œ
˙ n˙™ ˙™ ˙™ œ ˙™ ˙™ & ##˙™ ∑ #˙ n˙ œ ˙ ˙™ #œ ˙ œ œ
#˙™ #˙™ ˙™ ˙™ #˙™ {? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ #˙™ ˙™ ˙™ ˙™ ˙™ #˙™ ˙™ ˙™ ˙™ 16 125 ° & ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
#œ œ bœ ? œ œ œ j œ œ ¢ Œ bœ Œ Œ Œ œ ‰ œ
™ ™ œ™ ˙™ ˙™ #œ™ œ™ #œ™ n˙™ ˙™ Œ™ #œ™ ˙œ™ œ™ n˙™ ˙™ ∑ & œ™ ˙™ ˙™ ˙™
mf
b˙™ ˙™ œ™ bœ™ ˙™ #˙™ {? ˙™ ˙™ œ™ b œ ˙ ˙™ b˙™ ˙™ œ™ œ™ ˙™ n˙™ b˙™ ˙™ œ™ n˙™ 21 œ™ ˙™
° & ∑ ∑ ∑ ∑ ∑
senza sord. & ∑ ∑ ∑ ∑ Ó œ #œ mf
& ∑ ∑ ∑ ∑ ∑
? j œ œ #œ j œ
#˙ ™ ˙™ n˙™ #˙™ ˙™ # ˙˙™ ˙™ ˙™ ˙™ ˙™ & ## ˙™ ˙™ n˙™ #˙™ ˙™ p
<#>˙™ œ™ #œ™ ˙™ œ™ #œ™ ˙™ {? ˙™ œ™ œ™ ˙™ œ™ œ™ ˙™ ˙™ œ™ œ™ ˙™ œ™ œ™ ˙™ ˙™ œ™ œ™ ˙™ œ™ œ™ ˙™ 26 126 ° senza sorœd. ˙™ œ œ & ∑ ∑ Œ œ œ mf
œ b˙ ˙™ œ bœ œ œ œ & bœ ˙ œ bœ
senza sord. bœ œ ˙ & Ó B œ b˙™ b˙™ ˙™ mf
arco senza sord. ? ™ ¢ ∑ ∑ ∑ ˙™ ˙ mf
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
31
b˙ œ œ ™ ° œ b˙ œ œ œ œ #œ œ œ #œ œ & J mf f
j & ˙ bœ n˙™ œ Œ™ ‰ Œ™ œ™ œ #œ œ™ mf f
#œ B ™ œ œ œ œ bœ ˙™ ˙™ #˙ mf f bœ œ b˙ œ ˙™ ? ˙ bœ œ œ ¢ ˙ mf f
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
36 127 , ° ˙ #œ œ ™ ˙ & ˙ œ Œ œ œ ˙ œ p
˙ œ ˙™ œ Œ Œ ∑ Œ Œ & - - œ p mf
œ B œ œ œ œ ˙™ œ Œ Œ ∑ ∑ p œ œ ˙ œ ? œ ˙™ œ ¢ ˙ Œ Œ Ó p p
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
41
° ˙™ ˙™ œ #œ œ b˙™ & œ œ bœ f
™ & ˙ œ ˙ #˙™ ˙™ bœ œ œ f
B ∑ œ œ œ ˙™ ˙™ b˙™ f
? bœ œ œ ˙™ ˙ ¢ œ ˙™ ˙™ f mf pp
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
46 128 ° ˙o ™ ˙o ™ ˙o b˙ œ & bœ œ ˙ œ ff o o o o o & ˙™ ˙™ ˙™ ˙™ ˙™
B bœ ˙ œ nœ œ b˙™ bœ œ œ b˙™ f
? ™ ¢ ∑ ˙™ ˙™ ˙™ ˙ f
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
51
œ™ ° ™ ˙ ™ ™ & ˙™ b˙ œ n˙ œ p f
o œ & ˙™ ˙™ ˙™ ˙™ œ œ f
B b˙™ ∑ b˙™ b˙™ ˙™ f
œ bœ™ œ bœ b˙ œ ? b˙ œ œ b˙ J bœ œ bœ ¢ œ mf f with passion
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
56 129 ° b˙™ ˙- œ- b˙ œ b˙™ & -˙™ - - - p pp sotto voce
œ ˙ ˙- & -œ -˙™ -˙ -œ -˙™ p pp sotto voce
B ∑ b˙ œ b˙™ - - - -˙ -œ -˙™ p pp sotto voce
b˙ bœ œ-™ pizz. ? ∑ Œ Œ œ ¢ -œ™ ˙™ p p
& ∑ ∑ ∑ ∑ ∑
{? ∑ ∑ ∑ ∑ ∑
61
° & ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
B ∑ ∑ ∑ ∑ ∑
arco ? #n˙O ™ nb˙O ™ ˙O ™ ˙O ™ ¢ bœ Œ Œ pp
˙™ ˙™ ˙™ & ∑ ˙™ ˙™ ˙™ ∑ ™ œ™ œ™ bœ™ ˙™ pp Œ p
˙™ ˙™ ˙™ ˙™ ˙™ {? ˙™ ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ ˙™ ˙™ ˙™ 66 130 ° & ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ bb˙O™
mf ˙o ™ B Œ Œ ∑
b˙ ™ b˙ b˙™ ˙™ ˙ ™ œ ˙ bb˙™ ˙™ b˙˙™ & bbœ œ ˙™ ∑ ˙™ œ b˙ œ bœ ˙™ mf ˙™ ˙™ ˙™ ˙™ ˙™ {? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ ˙™ ˙™ ˙™ b˙™ ˙™ 71
b˙ ° , œ ˙ œ & ∑ ∑ ∑ mp mf
™ ™ ™ ˙ ˙ & b˙O™ ˙O™ ˙O™ Œ Œ
mp mf o o o ˙™ ˙™ ˙™ ˙ ˙ B Œ Œ
mp mf O ™ O ™ O ™ bœ™ n˙™ ? ˙™ ˙™ ˙™ bœ™ ¢ mp mf
˙™ b˙™ n ˙™ , œ œ bœ ˙™ ˙™ b˙™ nœ œ & ˙™ b˙™ bn˙™ Œ Œ œ Œ Œ mp mf
˙™ ˙™ ˙™ {? ˙™ ˙™ ˙™ Œ ˙˙ Œ ˙ ˙™ ˙™ ˙™ & #˙ ˙ ˙™ ˙™ ˙™ 76 131 bœ œ bœ œ ° œ œ œ œ œ b˙- œ- b˙-™ nœ #œ œ & f mp mf
œ ˙ œ ™ bœ œ œ œ- ˙-™ ˙ & œ œ -˙ f mp mf
˙ ˙™ ˙- - -™ ˙™ B Œ œ ˙ #˙™
f mp mf ˙ ˙™ ˙- œ- ˙-™ ? ¢ Œ ∑ f mp
- - ˙™ bœ™ nœ™ b˙™ ˙ ˙™ œ™ œœ™ ˙™ b˙ ˙™ & Œ ∑ f p
™ { Œ ˙ ˙™ ? ˙ ˙™ ˙™ ∑ & ˙ ˙ & Œ ˙ ˙™ ˙™ 81 °
° œ & œ bœ ˙™ œ ˙ œ œ œ œ ˙ dim poco a poco o & œ œ œ œ ˙™ ˙™ ˙ œ œ œ
dim poco a poco
B œ ˙™ œ œ bœ œ œ œ ˙ ˙ œ dim poco a poco ™ ? ˙ ˙™ ˙™ bœ œ œ ¢ ˙™ f dim poco a poco
& ∑ ∑ ∑ ∑ ∑
{ ∑ ∑ ∑ ∑ ∑ &
86 132 o o o o o ° œo œ œ œ œo œ œ & ∑ ‰ J b˙™ b-˙ -œ - p pp œo œo œo œo & b˙ ∑ ‰ Œ ‰ Œ - b˙™ J J pp b-œ - p œo œo œo B ∑ Œ bO O O O œ ™ b œ œ œ œ -˙ - -˙ pp p
? ˙- -™ bœO œO bbœO œO ¢ -œ ˙ ∑ Œ ‰ J Œ ‰ J pp p
b˙ œ #œ bœ ˙ œ & ∑ ∑ Ó p
bœ œ { ∑ ∑ ∑ Ó ˙ œ &
91
o o o o o o o o o o o o o o o o o ° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & Œ ‰ J Œ
o o o œ œ ‰ Œ ˙™ ™ ™ & J ™ ™ O™ bbœO™ nnœO™ #œO™ œO™ œO™ œ o o o o o o o o o o o o o o o œ œ œ œo o o œ œ œ œ œ œ œ œ œ œ œ œ œo B œ œ Œ
bbœO ? bbœO œO bbœO œO œO bbœO ¢ Œ ‰ J Œ J J ∑ Ó Ó
™ œ bœ ™ œ b˙ œ œ bœ ˙ bœ ˙™ & J
™ bœ œ #œ { œ j b˙ œ ˙™ bœ bœ œ bœ & œ™ bœ ˙ ˙™ 96 133 o o o ˙ w w ° ˙™ 4 3 & 4 Ó 4 ∑ ∑ p #˙ ˙ n˙ #w ™ 4 Ó 3 ∑ ∑ & ˙O™ 4 4 p o 4 #˙ w w 3 B ∑ 4 Ó & 4 ∑ ∑ p
arc™o ? 4 w w w 3 #˙O ™ ¢ ∑ 4 w w w 4 ∑ pp pp
˙™ b˙ ˙ ˙ #w 4 Ó b ˙ ˙ w 3 ˙™ & 4 #w bb˙ ˙ #w 4 ∑ ˙™ w w ™ œ™ pp Œ pp
œ w w
° & ∑ ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑ ∑
∑ ∑ ∑ Œ Œ B &
b˙ b˙™ ˙™ ˙™ œ ˙ bb˙™ & ˙™ ˙™ ∑ bbœ œ œ bœ™ ˙™ œ b˙ œ bœ p
˙™ ˙™ ˙™ ˙™ ˙™ {? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ 107 134 , ° 4 & ∑ ∑ ∑ ∑ ∑ ∑ 4
sord. ™ ™ ™ ™ 4 & ∑ ∑ bb˙O™ b˙O™ ˙O™ ˙O™ 4 mf
sor™d. o ™ o ™ o ™ 4 B ∑ ˙ ˙ ˙ ˙ 4 ˙O™ & mf
O ™ bO ™ O ™ O ™ O ™ O pizz. ? ˙™ b ˙™ ˙™ ˙™ ˙™ œ 4 ¢ Œ bœ 4 mf
b˙ ™ ™ ™ ™ ˙™ ˙ ™ ˙™ b˙™ nb˙™ , ˙™ b˙˙™ ˙™ b˙™ n˙™ 4 & ˙™ ∑ ˙™ ˙™ ˙™ b ˙™ 4 ˙™ mf ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ {? ˙™ ˙™ ˙™ ˙™ ˙™ ˙™ 4 ˙™ b˙™ ˙™ ˙™ ˙™ ˙™ 4 ˙™ b˙™ ˙™ ˙™ ˙™ ˙™ 112
rito. o o o sord. ˙ w w w œ ° 4 &4 Ó Œ Ó p dim. pp ppp
(sord.) #˙ ˙ n˙ #w w œ 4 &4 Ó Œ Ó p dim. pp ppp
(sord.) 4 #˙ w w w œ &4 Ó Œ Ó p dim. pp ppp
? 4 œ œ œ ¢ 4 œ Ó ∑ œ Ó œ Ó Œ œ Ó p pp pp
rit. b˙ ˙ ˙ #w w œ 4 b ˙ ˙ w w œ &4 Ó bb˙ ˙ #w w œ Œ Ó #w #w pp ppp
p dim. #w œ {? 4 w w w Œ Ó 4 w w w w œ w w w w œ 118 una corda 135 III. Allegro con moto q.=124 > . > . > . >œ- >œ- >œ- >œ. >œ- >œ- >œ- >œ. >œ- œ. >œ- œ. >œ- #œ. œ. œ n>œ- œ. œ- œ œ- œ ° 9 ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ œ ‰ Œ™ ‰ œ nœ ‰ œ œ ‰ œ œ Œ™ œ œ ‰ œ œ ‰ &8 J J ff with energy . >- . > > > >. > > > >. > . > . > . >. . > . > #>œ- œ nœ#œ 9 #œ- œ- œ- œ #œ- œ- œ- œ #œ- œ œ- œ ™ #œ- œ œ œ œ- œ #œ œ œ œ œ &8 ‰ ‰ J ‰ ‰ J ‰ ‰ Œ ‰ ‰ ‰ ‰ ‰ J ‰ ‰ ff with energy j j #œ 9 ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ ‰ œ œ ‰ Œ™ œ #œ œ œ œ œ œ Œ™
#>œ- œ. > ° œ œ œ ‰ Œ™ ‰ œ œ j ‰ ‰ j ‰ ‰ Œ j j j ‰ ‰ j ‰ ‰ ‰ j Œ™ 4 & œ œœ œœ œ œœ œ œœ œœ œœ œœ œœ 4 . > > . >- . > > >- >- . >œ- #œ. œ œ 4 & ‰ Œ™ ‰ nœ j ‰ ‰ j ‰ ‰ Œ j j j ‰ ‰ j ‰ ‰ ‰ œ œ bœ Œ™ 4 . bœ nœ œ bœ nœ œ #œ bœ nœ. -. -. . > nœ. > > . >- . > > >-. > > > > > . >- . > > > >- . ™ ™ >j j j j j j - j Œ™ 4 & #œ œ ‰ Œ Œ B œ ‰ ‰ bœœ ‰ ‰ Œ œ bœœ bœ œ ‰ ‰ œ ‰ ‰ ‰ œ bœ nœœ ™ 4 œ. œ. J J J J J J J Œ > >o >o o. >-o o. >o >o >-o >-o o. > > . œ bœ. . . œ. ? ™ > œ nœ bœ. ™ œ bœ. . œ œ œ. ™ 4 œ. ‰ Œ ‰ œ#œ >. ‰ ‰ Œ . ‰ ‰ ‰ ‰ >œ. b>œ Œ 4 ¢ #œ. œ nœ. œ. > œ. œ. > œ. œ. > œ. œ. > œ. œ. > >.
: ; “ >. . loco #œ œ 4 & # œ œ ‰ Œ™ ‰ œ nœ ‰ œ ‰ Œ™ b bœ ‰ nœ ‰ œ ‰ ‰b bœ œ œ Œ™ 4 bœ.œ bb œœ œœ b œ.œ b œœ œœ b œ.œ œ.œ > nœ. >. nœ. >. œ. > œ. >. nœ. >. œ. > œ. > œ. œ. sffz > > >. . # #œ œ {? # œ œ ‰ Œ™ ‰#nœœ Œ™ ‰ ‰ Œ™ 4 bœ 4 >. nœ. œ. œ. œ. œ. œ. nœ. œ > œbœ > œ œ > œbœ > œ œ > œ œ > nœ œbœ. 6 ...... >. > 136 q. =>. q . ° œ œ#œ œ 4 œ. ‰ Ó ∑ ∑ &4 J f 3
. 3 . 3 . 3 . 3 4 nœ 3 . 3 . . 3 3 . 3 3 3 3 &4 b œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ nœ > . nœ . œ œ . œ œ œ . œ œ . œ œ . œ œ . œ . œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. .J .J .J .J .J .J .J f mf 4 3 3 3 3 3 3 3 3 3 3 nœ. œ. œ. œ. œ. œ. B 4 #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ >...... f mf 3 3 n>œ pizz. arco ? 4 J ?#œ œ œ #œ œ œ ? 3 . #œ. nœ. 4 ‰ Œ ‰ #œ. #œ nœ J ‰ Œ ¢ #œ. f mf 3
q. =>. q #>˙ œ #œ œ nœ™ œ nœ œ #˙ nœ™ 4 nœ #œ œ. Ó Œ ‰ œ &4 . . J nœ œ œ œ œ 3 f 3 f
#n#œ œ œ œ œ œ {? 4 J ‰ Œ . J ‰ Œ Œ ‰ 3 4 Ó & j #˙ nœ™ œ œ > œ #œ œ 10
o >. . #œ œ œ#œ œ - - œ œ- œ- #œ œ - - œ#œ œnœ ...... ° #œ œ œ. 3 3 #œ œ J #œ œ œ œ#œ œ œ œ œ & ‰ œ œ œ ‰ œ œ œ . œ. j ‰ ‰ nœ#œ œ ‰ œ œ œ œ ‰ J J œ œ.bœ. . . J œ > 3 3 3 3 3 3 3 3 . 3 3 f 3 mp f p
3 3 3 3 3 3 3 3 3 3 3 3 3 œ. œ. œ. œ. œ. œ. œ. œ. œ. & œ œ œ œ #nœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ...... œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ . 3 3 . . . . . >...... >. . . >. . . >...... 3 fp mf p ...... >...... >. . . >. . . >...... 3 . . . B #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œnœ#œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ. œ. œ. & 3 3 3 3 3 3 3 3 3 3 3 3 3 3 fp 3 mfp o. . . . #œ #œ œ œ œ œ . 3 3 j 3 3 j œ.bœ œ. œ#œ 3 3 j 3 3 j j #œ ? ‰ œ œ œ ‰ œ œ œ ‰ œ. J ‰ Œ ‰ œ œ œ ‰ œ œ œ œ ‰ ‰ . ¢ -œ -œ œ -œ -œ œ -œ -œ œ -œ -œ œ #œ. œ 3 3 p mp mf 3 bœ nœ™ œ nw œ œ œ œ œ™ #œ œ œ#œ œ œ#œ œ œ nœ bœ nœ œ bœ œ œ œ™ nœ™ œ #œ & œ J 3 3
3 { bœ œ nœ™ j 3 œ #œ œ nœ & œ œ œ™ #œ #œ œ nœ nw œ nœ™ œ #œ œ œ œ œ bœ 13 137 > ...... > >. >. >. >. > . . . ° #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ. œ œ œ œ œ. . nœ #œ. œnœbœbœ. nœ. #œ. œ & ‰ œ ∑ 3 3 3 3 3 3 3 3 3 3 3 3 mf f cresc. > > >. . . . > . œ. bœ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. >. œ. nœ œ œnœ. œ. œ. œnœ. œ #œ nœ bœ. 3 & œ ‰ œ ∑ nœ. #œ. . 3 3 3 3 3 3 3 3 3 3 3 f cresc. > > > . . œ . 3 ...... œ. >. œ. œ. œ. œ. œ. œ. œ. . . . œ œ #œ . 3 & œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ ‰ œ ‰bœ. B œ ∑ bœ. nœ. #œ. . 3 3 3 3 3 3 3 3 3 3 f cresc. >. . .#>œ. œ. œ. >...... >. . . œ œ œ #œ œ œ œ œ œ œ œ œ œ. œ. œ. 3 3 ? Œ #œ œ œ B Ó ?‰ ∑ ¢ bœ.bœ nœ#œnœ 3 3 3 3 3 3 3 . . . . p f
œ . > . #œ bœ œ nœ œ œ. œ#œ . > . > > > #˙ #œ œ œ œnœbœ . . #œ. œ. >œ bœ œ œ ‰ bœbœ nœ bbœ nœnœ bœ œnœ & bœ nœ#œ œ Jœ J Jœ J 3 3 3 3 3 3 3 3 3 mf sub.
œ > 3 3 œ n œ œ. . œ #œ. 3 3 b>œ 3 >œ { œ œbœ œbœ œ œ nœ ‰ œ œ. Œ ? œ œ œ œ & #œ œ œ J œ J #œ nœ#œ. . > J > J #˙ 3 3 3 3 . 17 3
° 3 3 3 3 3 3 ∑ ∑ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & j œ œ œ #œ œ œ #œ j #œ. œ. œ. œ. bœ. œ. œ. . . . .#œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. mf > ≥ >. >. . ≤ 3 ≥ .bœ . œ . bœ . ≤ 3 ≤ 3 3 3 3 3 3 œ. œ œ. œ J œ. œ œ œ. œ ≤ 3 j j & ‰ ‰ . . œbœ. œ œ #œnœ œ œ œ ‰ ‰ œ œ œ ‰ œ œ œ #œ œ œ œ œ ‰ ‰ œ œ œ ‰ œ œ œ œ œ. > . . œ. œ...... œ. œ. œ. œ...... 3 3 3 > œ. > f 3 mf
B ∑ ∑ ∑ Ó Œ #œ f sinister
? ∑ ∑ j œ œ ¢ #œ™ #œ œ œ œ #œ #œ f sinister
> > > > > > >œ bœ œ œ >œ bœ œ œ nnœ & œbbœ nœnœ œbœ œnœ œbbœ nœnœ œbœ œnœ n œ Œ Ó ∑ J J J J J J J J 3 3 3 3 3 3 3 3 mf sub.
> 3 > 3 > 3 > 3 {? 3 œbœ œ 3 œ œ œ 3 œbœ œ 3 œ œ œ #œ ∑ œ J J œ J J œ J J œ J J #œ ˙™ > > > > - ™ 21 #-˙ 138 ° . . . . . #œ. œ. œ. œ. œ. œ. œ. œ. œ.#œ. œ™ nœ j ‰ #œ. œ. ‰ ‰ œ. nœ œ œ œ #œ ‰ ‰ œ œ & #œ J J . p sub. 3 3 mf sinister j j ...... œ™ œ ‰ #œ œ ‰ ‰ œ nœ œ œ œ. #œ. #œ œ œ œ ‰ œ œ œ ‰ œ œ œ bœ œ nœ & #œ...... J p sub. 3 3 mf sinister
3 3 3 3 B #œ œ #œ œ #œ bœ œ œ œ œ œ <#>œ œ #œ #œ œ œ & nœ œ. œ œ. œ œ. œ œ. œ œ. œ œ. p sub.
nœbœ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. œ œ œ. ? #œ œ #œ œ #œ B ¢ <#>œ œ #œ #œ œ œ 3 3 3 3 p sub. . #œ œ œ œnœ œ œbœ œ nœ œ œ#œ#œ œ œnœ œ #œ œ œ nœ œ #œ œ œ #œnœ œ œ œ œ & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ‰ œ ‰ œ p 3 3 3 3 3 3 3 3 3 œ
{? ∑ ∑
25
> bœ œnœ ° œ œ œ œ œ #œ #œ #œœ œ œ 3 3 3 3 & œ ‰ J #œ œnœ#œ #œ#œ œ œ œ œ nœ œ œ œ œ œ . . . . . œ œ œ œ œnœ 10 ...... f mp #>œ œ œ nœ œ ‰ œ œ #œ #œ #œ œœ#œnœ 3 3 3 3 & œ J œ#œ#œ œ #œ œ œ œ œ œ œ . . .nœ. œ. œ. nœ. œ. œ. œ. œ. œ. 10 f mp
3 3 3 3 #œ œ œ . œ . œ . œ #œ#œ œ œ œ œ #œ #œ J & œbœ œ. œ œ œ. œ œ œ. œ œ œ.bœ œ œ. œ œ œ. nœ œ œ œ œ œ œ œ ‰ Œ Ó B 6 3 3 6 f
...... 6 œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3 œ #œ nœ B œ œ œ œ œ œ œ œ #œ œ #œ J ‰ Œ Ó ? ¢ & nœ œ. œ œ. #œ œ. œ œ 3 3 3 3 6 f
œ œ #>˙ œnœ™ œ œ œ œ œ#œ ™ ‰ œ ‰ œ ‰ œ ‰ ‰ Œ ‰ œ #˙ nœ & œ œ œ œ œ J œ œ 3 f
{? ‰ 3 & j #˙ nœ™ œ œ > œ #œ œ 28 139 œo - - œ œ. #œ œ œ#œ ° #œ- œ- œ œ œ #œ #œ- œ- œ #œ #œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ J ‰ #œ œ œ œ œ & J J J 3 3 3 3 3 3 3 3 3 3 f mp f p
3 ...... 3 3 3 3 3 3 3 3 nœ œ œ œ œ œ œ œ œ œ & #nœœœœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ...... œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ nœ . 3 3 . . . . . >...... 3 f mp mf p ...... >...... 3 . . . œ. œ. œ. œ. œ. œ. B #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ. œ. œ. 3 3 3 3 3 3 3 3 3 3 3 f mp mfp o. #œ#œnœ œ œ. . nœ. nœ #œ ? ‰ œbœ nœ œ#œ nœ#œ œ ‰ 3 œbœ nœ#œ nœ œ #œ J ‰ ‰ ¢ #œ œ bœ nœ œ #œ #œ nœ #œ œbœ nœ nœ #œ #œ. f mp mf 3
bœ™ œ œ#œ nœ nœ nw bœ™ œ #œ œ œ #œ œ œ nœ bœ & J 3 f
j { œ bœ 3 œ #œ nœ nœ & nœ œ#œ œbœ nœ œ#œ nœ#œ nœ#œ œbœ nœ#œ nœ œ œ nœ bœ #œ œbœnœ bœ #œnœ#œ œ œnœ 31
...... >. . >. . > . q = q. . > . ° #œ œ œ œ œ œ œ œ œ#œ. œ. œ. nœ . œbœ . œ œ . œ œ œ . 3 3 3 3 >. œ bœ œ . œ œ œ œ bœ œ œ 6 œ œ & œ. œ œ. œ. œ > œ. œ . œ. œ 8 œ. 3 3 3 3 3 3 3 3 . > . . > . mf f
#œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. . 3 3 3 3 3 3 3 6 & œ bœ. œ œ. œ œ œ œ œ bœ œ œ œ œ. œ 8 œ bœ œ > nœ. . > œ. . > . œ. . œ. . > . œ. . œ. . œ. œ. œ. . > . œ. 3 3 3 3 3 > mf f ...... œ. œ. œ. œ. > > >. œ œ œ œ œ œ œ œ œ œ. . œ. bœ œ. . œ œ. . œ œ. . 6 B J ‰ Œ Ó œ œ œ œ 8 œ. œ. > œ. bœ œ. œ 3 3 3 3 3 3 3 > . mf 3 f
. . . > > #œ. œ. œ. œ œ œ œ œ œ nœ 3 . 3 œ. bœ . 6 œ. bœ . ? Œ J ‰ Œ Ó Œ ‰ ‰ œ J œ 8 J œ ¢ J >œ J >œ J 3 3 3 3 p mf f bœ bœ q => q. > b˙ œ œ 6 œ bœ & J ‰ Œ Ó ∑ 8 œbbœ nœ nœ J J f
b>œ { bœ œ j ‰ Œ Ó ∑ ? 6 œ œ & œ 8 J b˙ bœ >œ J 34 140 . . >. œ. œ #œ ° bœ œ. . & œ ‰ J ‰ ‰ Œ™ ∑ ∑ mp . > . >. . >™ . >. œ œ. œ. œ #œ œ. œ nœ œ œ. œ œ œ. bœ œ œ™ & bœ. œ . > . œ. œ mp
j ™ B bœ œ œ nœ ‰ ‰ Œ ∑ ∑ >. . œ. œ. œ. . .
? j ™ ¢ bœ œ œ nœ ‰ ‰ Œ ∑ ∑ >. . œ. œ. œ. . .
> > > > > > > b>œ œ bœ nœ œ œ #œ œ nœ œ #œ œ bœ nœ bbœ nœ nœ œ œ œ œ œ œ œ œ œ b œ nœ b œ & Jœ J J J J J J J sempre p
b>œ n>œ >œ j {? œ œ œ œ œ J œ œ œ b>œ j J nœ J œ J >œ J > J > > œ 38
. > . . . œ. ° œ. œ . >œ. . bœ œ > . bœ. œ. œbœ ∑ ∑ ‰ œ . > œ bœ. bœ œ œ. œ & œ œ œ œ. œ. œ. . . mf . >œ. œ. . . œ. œ bœ œ œ . œ. . œ. nœ J ™ & ‰ œ œ ‰ ‰ Œ ∑ ‰ bœ œ œ bœ. œ. bœ œ œ. œ. . . . mf œ. . . mp
B ∑ ∑ ∑ ∑ ∑
? ¢ ∑ ∑ ∑ ∑ ∑
> > > > > > > > > > > œ bœ œ nœ œ œ œ bœ œ nœ œ œ œ bœ bœ nœ œ œ œ œ œ œ >œ œ œ b œ œ b œ œ œ œ b œ œ b œ œ œ œ b œ nœ b œ œ œ œ œ œ œ œ œ & J J J J J J
j j j {? œ b>œ j œ b>œ j œ b>œ j nœ œ œ œ œ œ œ œ œ J > . œ. œ J > . œ. >œ >œ >œ œ > 42 > 141 . . >. œ . >™ bœ. . . . œ. œ ° œ bœ œ œ œ bœ œ & J ‰ ‰ Œ™ ∑ ∑ f
> œ ‰ ‰ Œ™ ∑ ™ ‰ bœ œ bœ b˙™ & J œ. œ. œ œ > œ. > >œ > f f >. > . œ. bœ. œ. . œ. œ. œ ™ > œ œ œ bœ. B ∑ & bœ J ‰ ‰ Œ ∑ B ‰ œ f
? ¢ ∑ ∑ ∑ ∑ ∑
> > > > > > > bœœ œœ bœœ j bœœ œœ bœœ œœ j j & J bœ J œ J bœ œ J bœ J œ J bœ J œ œ œ bœœbœ bœœbœ œœ œ f > > >
> > > > > > > {? œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ J J J J J J J J J J >œ >œ >œ 47
> > >. . >. . ° . . > . . - - >. . . >. . . >. . bœ œ nœ œ & ‰ œ bœ bœ œ œ b˙ œ œ œ œ œ œ œ œ œ
b>œ. œ. >œ. œ. & ∑ ˙ œ œ œ œ bœ œ œ bœ. œ. >- >- >. . . >. . . >
> > > >. . . >. . . >. . >. . >. . B œ. ‰ ‰ Œ™ b˙- œ- bœ œ œ œ œ œ œ œ œ œ œ œ J
> > >. . . >. . . > ˙- œ- œ œ œ œ œ bœ
>œ >œ >œ >œ > bœœ œœ bœœ bœ œœ œ ‰ œ ‰ œ ‰ œ ‰ œ & J bœ J œ J J bœ bœ bœ nœ > >œ >œ
{? œ j j œ ‰ ‰ j J œ œ œ œ J œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ 52 œ œ œ œ œ 142 b>œ. œ. bœ. . >- >- ° . bœ. œ™ . bœ. bœ b˙ œ ˙™ & bœ ‰ bœ ff
bœ ‰ œ. bœ. bœ. ˙™ & . bœ œ™ bœ b-˙ -œ > bœ. . bœ. . > ff > b>œ. B J ‰ ‰ Œ™ ∑ ∑ ∑
? j j . j b>œ. œ. >. . bœ œ œ œ bœ. bœ œ bœ bœ bœ œ œ œ bœ j ¢ > . >. . >. J >. . J J . œ. ff agressivo >
> bœ j ‰ bœ œ™ œ™ ‰ bœ œ™ bœ™ œ j œ & œ™ œ™ b œ œ™ bb œ™ œ nœ #œ nœ bœ™ œ™ b-œ œ™ b-œ™ œ œ n#œ œ. ff > > > >- >.
j j j {? j bœ j bœ œ œ œ j j bœ bœ bœ œ bœ bœ bœ bœ œ œ œ œ bœ œ œ œ bœ œ bœ bœ œ bœ œ 56 (bring out)
> > . . . b˙™ ˙™ bœ . . œ bœ bœ. ° . bœ bœ œ. . bœ & bœ J ‰ bœ
b>˙™ >™ bœ ‰ œ. bœ. . ˙ & . bœ bœ j bœ bœ bœ. . œ. bœ. .
B ∑ ∑ ∑ ∑
> > > ? j j bœ. bœ. œ. œ. œ. œ. j ¢ bœ. œ. œ. bœ. œ. bœ. J J J j œ œ > > œ bœ. > > œ. >. . >. >. . > > >. >. . nœ œ œ nœ œ™ œ™ bb œ œ œ œ œ œ & nœ ™ ‰ #œœ œœ™ #œœ™ ‰ bbœ œ œ ‰ J #œœ™ J >œ ™
j j j {? j bœ bœ œ œ œ œ j j bœ bœ j & bœ bœ bœ œ œ œ œ œ œ œ bœ œ œ œ bœ œ bœ œ œ 60 bœ œ œ œ bœ 143 pizz j j j j j j j j ° œ œ œ œ œ œ œ œ œ œ œ œ & ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ >œ >œ œ >œ >œ >œ >œ >œ œ >œ >œ >œ mp sub. >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. & œ œ œ bœ œ œ nœ œ bœ œ nœ œ bœ nœ œ œ bœ œ nœ œ bœ œ nœ œ
mp sub. >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. B œ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ
mp
? ¢ ∑ ∑ ∑ ∑
> œ > œ œ œ™ œ œ œ œ œ œ™ œ œ œ & ‰ œ ‰ œ œ ‰ œ
mf sub.
{ ‰ ‰ œ œ œ ‰ œ œ œ & œ œ™ œ œ œ œ™ œ œ > œ œ œ > œ 64
j j j j ° œ œ œ œ œ œ œ œ arco ‰ œ ‰ œ œ ‰ œ ‰ œ ‰ œ œ bœ ‰ ‰ Œ™ & œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ > . œ œ. bœ. nœ > > > > > f . . f >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. œ. . œ. bœ™ & bœ nœ œ bœ œ nœ œ œ bœ nœ œ bœ œ ∑ f . >œ. œ. œ. >œ. œ. œ. >œ. œ. >œ. œ. >œ. œ. . . bœ™ œ . œ bœ. . B #œ œ œ œ œ œ œ œ #œ œ œ œ œ nœ. œ œ. œ #œ
f
? ¢ ∑ ∑ ∑ ∑
> > > > > > > > >. > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > œ œ œ >. >œ. œ œ œ œ œ #œ œ œ œ œ œ œ œ J ‰ œ. œ œ œ œ œ & J
f
> > j { œ j ‰ ‰ œ œ j œ œ œ ‰ #œ œ œ & > œ œ. œ œ œ œ . œ . œ œ œ œ œ œ œ œ. >. > œ œ > >. > J > > 68 > > 144 . . œ. œ œ #œ nœ ° . œ. bœ #œ nœ œ bœ œ #œ nœ #œ nœ ‰ ‰ Œ™ . œ nœ œ œ œ œ œ œ œ œ œ œ œ & j œ æ æ æ æ æ æ æ æ æ æ æ æ œ. pp sub. . nœ™ œ œ œ œ. œ æ œ #œœ nœœ œ œ œ œ œ œœ #œœ œ œ & œ bœ. æ æ œ æ #œ nœ œ #œ nœ #œ œ œ. . æ æ æ æ æ æ æ æ æ æ æ œ. pp sub. mf ™ . . bœ™ bœ æ B nœ œ. œ bœ œæ æ j j ‰ j bœ œ œ œ œ œ œ œ œ >. bœ. >. nœ. b>œ nœ. pp sub. > . œ . > . > j j ? ∑ ‰ œ bœ œ œ. œ. œ œ œ ‰ œ œ œ œ ¢ J œ œ. œ œ. œ. œ. œ f pp sub. > > >
> > > > > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ bœ bœ > > œ œ œ œ J œ bœ bœ bœ bœ j & J œ J œ bœ bœ > œ pp sub. > { ‰ ‰ ‰ j ‰ ?œœ & œ œ œ #œ œ œ œœ œœ œœ J œ > œ > œ œ œ > œ œ > 72 > > >
° œ #œ nœ #œ nœ œ #œ nœ #œ nœ œ #œ nœ #œ nœ œ #œ nœ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ sempre cresc. f sempre cresc. marcato e pesante
œ nœœ #œ nœ œ #œ nœ œœ #œ nœ œ #œ nœ œœ #œ nœ œ #œ nœ œœ #œ nœ œ #œ & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ sempre cresc. f sempre cresc. marcato e pesante
B ‰ j ‰ j ‰ j ‰ j œ bœ œ œ œœ nœ œ œœ œœ œ œ œ œœ œ œ œ >. . b>œ . >. . > . >. . œ . >. . œ . f sempre cresc. > marcato e pesante > sempre cresc. ? j j j j ¢ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ >. . >. >. . >. >. . >. >. . >. sempre cresc. f sempre cresc. marcato e pesante >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ bœ #œ œ œ œ œ bœ #œ œ œ œ œ & #œ nœ œ œ œ œ bœ #œ œ œ œ œ
sempre cresc. f sempre cresc. marcato e pesante > > > > > > {? ‰ œœ œœ ‰ œœ œœ ‰ œœ j ‰ œœ j œ J œ œ J œ œ œœ œ œœ œ œ 76 > > 145 >. œ œ nœ#œ œ . . . œ™ ˙™ ° œ #œ œ #œ œ œ œ . œ. œ™ œ . œ. œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & æ æ æ æ æ æ æ æ æ æ æ æ sf ff j œ œ œ œ œ œœ œ œ œ #œ œ nœ œ j œ™ #œ™ & nœ #œ œ œ #œ nœ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ™ æ æ æ æ æ æ æ æ æ æ æ æ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ™ œ™ >œ > > > > > > >œ™ >œ™ sf ff >. . . œ. . . ™ œ™ >. . >œ. œ. >œ. œ. j j œ . œ œ™ œ . œ œ œ œ œ œ B ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ. n>œ œ. bœ. œ œ . >. > . > sf ff œ >œ >œ > ? ‰ œ j ‰ j nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ¢ œ. #œœnœœ œ bœ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ J > . > . >. œ. >œ bœ. > > > > > > sf ff > > > > œ œ œ œ ˙™ . . - - - bœ œ œ bœ ∏ n˙ œ . > - - nœ bœ œ b œ œ œ b œ ∏ n ˙™ . œ œ œ b œ b œ n œ b œ œ œ œ œ ∏ ˙™ . œ œ œ œ œ œ œ J bœ ∏ œ ∏ œ bœ bœ nœ ∏ œ ∏ œ
b œ ‰ œ ∏ œ ∏ œ
& œ œ ∏ œ ∏
bœ > ∏ œ ∏ b œ ∏ ∏ œ ∏ ∏ ∏ ∏
∏ ∏
> ∏ ∏
∏ ∏ ∏ ff ∏ mf ∏ f ∏
∏ ∏
∏ ∏ ∏ . . ∏ > ∏ >™ >- ∏ œœ ∏ œ j j ∏ ∏ ∏
™ ∏ ∏ œ œ œ >
∏ œ ∏ œ™ ? œœ œœ œ ∏ œ™ œ œ ‰ œ ‰ ∏ œ™ œ#œ ‰ j ∏ œ œ œ ∏ œ™ œ œ { ∏ œ > ™ ∏ ™ œ œ œœ >œ œœ œ œ ˙™ œ œ œ œ > œ œ™ ˙™ œ™ œ 80 > > (bring out) > sf sf
. . . ° >œ. . œ. œ™ œ . œ. œ œ œ œ™ œ™ & œ œ
œj j & œ ‰ œ œ œ œ œ œ œ œ œ œ œ™ œ™ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. >œ > > > > . >. . ™ . œ œ. . œ™ ™ œ œ. œ œ œ œ. œ œ œ B œ
œ >. œ. œ. ? œ œ œ œ œ ¢ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > . . >. . . >. . >. . >. . >. . .
> . . > - - ˙™ . œ. œ œ œ. œ b œ œ ∏ n˙™ œ ∏ œ bœ nœ ∏ ˙™ ‰ œ œ ∏ œ ∏ œ ∏
& ∏ œ ∏
∏ œ ∏
∏ ∏
∏
∏
∏
∏ ∏ mf ff f ∏ ∏
∏
∏
∏
>- . . ∏ j j ∏ ∏
œ œ ∏ > œ ∏ œ™ œ œ œ œ ∏ œ™ ? . œ ‰ œ ‰ ∏ ™
œ œ ∏ œ
{ ∏ > >. œ. œ™ > œ™ ˙™ œ™ 86 > (bring out) > sf sf 146 > ° œ œ æ œ æ æ æ j ‰ ‰ j ‰ ‰ Œ j j ∑ & æ æ bœ œ œœ œœ œ œ œ > œ >. >. >. >. . (ff) f æ æ œ æ æ bœ æ æ ∑ j ‰ ‰ j ‰ ‰ & > œ œ > œ œ œ. œ. œ œ > œ nœ. > œ œ. >. >. (ff) mf >œ œ œ æ j ™ B æ æ æ bœ œæ æ œ ‰ ‰ Œ ∑ ∑ > œ >. (ff) >œ > ? œ œ bœ œ Œ™ Œ™ ¢ æ æ æ æ æ æœ œ œ nœ œ œ œ œ œ bœ œ œ œ >. . >. . >. . >. . (ff) f mf
- #œ >œ bbœ nnœ ## œ bbœœ > œ œ #œ œ n bœœ ™ & ‰ b œ œ ‰ Œ bbbœœ ‰ b nœœ ‰ œœ ‰ œ œ b œ œ (ff) > > nœ > œ f mf
{? œ bœ œ œ bœ œ bœ œ Œ™ œ bœ œ bœ nœ œ >œ œ œ > nœ nœ > œ œ œ bœ > œ œ > œ œ 89
° & ∑ ∑ ∑ ∑ ∑ ∑
‰ j ‰ ‰ ∑ ∑ ∑ & bœ œ œ nœ œ œ œ œ œ œ œ j > > ...... œ. œ. sfp p
B ∑ ∑ ∑ ∑ ∑ ∑
? ¢ ∑ ∑ ∑ ∑ ∑ ∑
>. œ. . œ œ & ‰b bœ œ Œ™ Œ™ œ œ œ œ j ‰ ‰ Œ™ œ œ œ œ b œœ œœ œ n˙™ œ™ œ œ œ œ œ >. œ. >. nœ. . . sfp > . œ. . œ œ. . . œ. œ œ {? ‰ ‰ œ œ œ ‰ ‰ Œ™ Œ™ œ . œ J ‰ ‰ Œ™ œ. œ. . J ‰ ‰ œ œ œ >. œ. œ J . œ œ. . . œ. 93 “‘ > 147 ° pizz. œ œ œ bœ œ & ∑ Œ™ œ J ‰ ‰ œ ‰ ‰ #œ j ‰ ‰ œ ‰ ‰ bœ bœ J #œ œ mf
pizz. œ œ bœ œ & ∑ œ œ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ bœ j ‰ ‰ œ œ J J œ œ J bœ mf
B ∑ ∑ ∑ ∑ ∑
? ¢ ∑ ∑ ∑ ∑ ∑
> > > . > > > . >œ. >. >. >. >. > œ œ . > œ. œ. œ. œ. bœ œ. œ. œ. bœ . #œ j nœ œ bœ bœ. >. & œ œ œ œ ? ‰ ‰ bœ. œ. œ #œ ‰ J œ. ‰ œ . œ. .
p mp . œ. œ œ. {? J ‰ ‰ ‰ Œ™ nœ j ‰ œ œ j bœ . œ œ. œ. œ. œ. œ. >. . . bœ. œ . > œ œ > œ > œ > œ #œ. nœ. > bœ. > >. 99 . >. . . . >
° œ œ œ œ j & J ‰ ‰ Œ™ œ ‰ ‰ œ ‰ Œ™ œ ‰ ‰ bœ œ ‰ ‰ Œ™ J œ œ œ f mf f
j œj œ œ nœ œ œ œ & nœ ‰ ‰ J ‰ ‰ nœ œ ‰ ‰ #œ j ‰ ‰ ‰ ‰ nœ j ‰ ‰ bœ ‰ ‰ Œ™ # œ J #œ J nœ œ nœ mf nœ f f pizz. œ œ œ B œ œ J ‰ ‰ ∑ Œ™ ‰ œ ‰ ‰ œ j ‰ ‰ j ‰ ‰ j ‰ j J œ œ #œ nœ mf mf f
pœizz. #œ nœ œ bœ ? J J J bœ œ ™ ¢ ∑ ∑ ‰ ‰ ‰ J ‰ J ‰ J ‰ J ‰ ‰ Œ mf f
. >. > > > > > > > #œ nœ #œ. nœ. >œ. œ. >. >. >. >. >. ? œ ‰ œ. #œ. ‰ œ. #œ. œ. œ. œ. nœ. ‰ ‰ J . ‰ bœ œ œ #œ ‰ ‰ nœ >. œ œ. J œ.
mf p mf (mf) >. >. > >. #œ nœ œ. œ b>œ. >. >. {? œ. ‰ œ. ‰ œ. œ. œ. ‰ ‰ J #œ. nœ. J ‰ J œ. œ ‰ ‰ #œ nœ > œ œ > œ > œ > œ J #œ nœ ‘ . >. . . . >. 104 “ 148 ° œ œ œ ∑ ‰ ‰ ‰ ‰ J j ‰ ‰ œ ‰ ‰ œ ∑ 3 & œ œ œ œ œ 4 mf sempre dim.
#œ j œ bœ bœ 3 ∑ ‰ ‰ J ‰ ‰ ‰ ‰ œ ‰ ‰ j ‰ ‰ #œ ‰ Œ™ 4 & #œ œ J bœ #œ mf sempre dim.
3 B j ‰ j ‰ j ‰ ∑ ∑ ∑ ‰ ‰ œ j ‰ ‰ 4 œ bœ bœ J œ mf mf
? ∑ œ ‰ #œ ‰ ‰ nœ œ ‰ œ ‰ bœ ‰ nœ ‰ bœ ‰ ‰ œ j ‰ j ‰ 3 ¢ J J J J J J J J J #œ nœ œ œ 4 mf sempre dim.
>. > > >. œ œ. bœ. >œ. >. >œ. >. > >. 3 ? œ. bœ. ‰ bœ . ‰ ‰ œ ‰ bœ œ. nœ. bœ. ‰ ‰ œ #œ nœ ‰ 4 > œ > œ J œ. > nœ > J . . œ. œ & . . > #œ. > . sempre dim. > >. œ. bœ. œ >. >œ. >. {? ‰ ‰ bœ bœ > ‰ ‰ J . œ ‰ bœ. œ nœ ‰ j bœ. œ ‰ nœ 3 > J j j œ 4 J bœ >. bœ. œ. J œ. > >. J bœ . . . œ. . >. œ. #œ. nœ. 109 > > > :“;
q. = q ° 3 arco &4 ∑ ∑ ∑ ∑ œ™ j bœ œ mf cantabile
arco. sul pont. ord. 3 3 3 3 3 3 3 &4 ∑ ∑ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ œ™ j œbœ œ œ œ œ œ œ œ bœ œ œ œ œ nœ bœ œ œæ bœ œ p mf cantabile
3 arco œ™ j B 4 ∑ ∑ ∑ ∑ bœ œ mf cantabile
? 3 œ ¢ 4 j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ Œ œ nœ œ œ œ œ œ œ œ œ œ œ œ mf p - #˙ “” # ˙ bœ 6 q3. = q #˙˙ nœ#œ œ bœnœnœ#œ œ bœ œ œ œ œ &4 ∑ ∑ Œ n ˙ #œnœbœ œ œ nœ œ œ œ œ œ & nœ #œ Ó - ‰ œ 3 3 3
p mf p {? 3 ˙™ ˙™ ˙™ ˙™ bœ œbœ œ œ œ œ 4 & œ œ ˙™ ˙™ ˙™ ˙™ 3 3 3 114 :“; 149 ° j & b˙ bœ™ j ™ bœ bœ bœ bœ œ œ
j & b˙ bœ™ j ™ bœ bœ bœ bœ œ œ
b˙ bœ™ j ™ j B bœ bœ bœ œ œ bœ
? bœ bœ bœ ¢ Œ bœ Œ bœ Œ nœ bœ nœ
:“; bœ bœ œ œ œ œ œ bœ œ bœ œ œ œ œ œ nœ bœ œ œ œ œ œ œ œ & bœ œ œ œ bœ bœ œ œ œ œ œ nœ
3 3 3 3 3 3 3 3 3 p poco a poco cresc. > 3 3 3 3 nœ- { bœ bœ bœ œ œ œ bœ bœ bœ bœ œ œ œ œ nœ œ œ ? & bœ œ bœ œ bœ nœ J nœ 3 3 3 3 119 sfp
bœ™ œ nœ œ bœ ° nœ œ œ œ œ bœ & œ œ œ J 3 f
sul pont. 3 æ 3 æ 3 æ œ œ œ œ bœ œ æ æ œ œ œ æ œæ œ bœ œ bœ æ œæ œ & œ æ æ æ æœ bœ œ æ æ æœ œ æ æ æ œ 3 3 3 3 arco 3 bœ™ j œ nœ œ bœ œ œ B ˙ &œ nœ œ œ f
? Œ œ ‰ œ bœ œ ‰ j ¢ œ J œ œ œ œ bœ f
:“; œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ 3 3 3 3 3 6 6 6 mf 6
3 œ 3 œ œ- 3 {? œ œ œ bœ ? œ œ œ bœ œ bœ bœ œ œ &œ œ œ & œ œ œ œ œ œ 3 - 3 122 > sfp 3 150 ° ˙ sœul pont. æ æ æ æ æ æ œ œ œ. bœ. œ. œ. œ. œ. œ æ œ æ œ æ œ æ œ æ œ æ & æ æ æ æ æ æ æ æ æ . #œ. . nœ. . #œ. . nœ. . œ. . œ. 3 p
(sul pont.) œ æ3 æ œ & œ bœ æ œ œ œ œ bœæ æ œæ æ œæ æ #œæ æ nœæ æ #œæ æ nœæ æ œæ æ œæ æ æ æ æ œ æ æ æ . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. . œ. 3 3 p
˙ bO & Œ ∑ Œ œO b œ ∑ p
arco œ œ ? œ œ œ bœ Œ bœ œ œ Œ œ œ ¢ œ œ p mp (under piano)
:“; ˙ œ œ œ œ bœ œ œ œ œ œ™ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ ˙ œ™ & œ œ Jœ 6 6 6 p mp nostlagic (bring out)
3 œ ™ j { œ œ bœ œ œ œ œ œ bœ œ œ ˙ œ œ™ œ & œ nœ œ œ œ œ #˙ œ nœ œ 3 3 125
. œ. œ. ° æ æ æ . . . . . bœ. . œ. . bœ bœ. œ æ œ æ œ æ #œæ æ œæ æ #œ. #œ #œæ æ œæ æ œ. œ œ nœ. œ œ œ œ æ æ æ æ & . #œ. . œ. . œ. . #œ. . #œ. æ æ . #œ. . nœ. æ æ æ æ æ æ æ æ æ æ mf
. #œ. æ æ æ æ æ æ æ œ. . œ. . #œ. . #œ & #œ æ œ æ œ æ #œæ æ œæ æ œæ æ #œæ æ œæ æ nœ bœ. œ. œæ œæ bœ. œ æ nœ #œ æ æ . #œ. . œ. . œ. . #œ. . œ. . œ. . nœ. . œ. . . . æ æ æ æ æ mf
#O O & Œ œ œ ∑ ∑ ∑ ∑
bœ œ bœ bœ œ™ ? œ œ #œ™ J bœ œ œ™ J bœ ¢ #œ Œ Œ J mf :“; b˙ #œ #˙ œ nœ œ bœ nœ œ bœ #˙ œ nœ bœ nœ ˙ œ œ bœ b˙ & #œ œ ˙ œ œ œ bœ bœ
mf
#˙ #œ bœ { œ ˙ # œ #œ b˙ œ bœ ‰ bœ ?b œ & #œ b bœ # œ #œ nœ J bœ b œ bœ œ b œ b œ bœ 129 151 Allargando q=110 o o o o ° b˙™ ˙™ ˙™ ˙™ ˙™ & ∑ f
#˙™ #˙™ n˙™ #˙™ ˙™ & ∑ f
o ™ o ™ & ∑ #˙™ #˙™ #˙™ ˙ ˙ f
? n˙™ œ ˙ ˙ œ ˙™ ˙™ ˙™ ¢ ˙ œ ˙ ˙ œ ˙ ˙ ˙ f
Allargando q=110 # ˙™ n ˙™ ˙™ ˙™ ˙™ ##˙™ ##˙™ nb˙™ n#˙™ ˙™ # #˙™ n #˙™ n˙™ #˙™ ˙™ & ∑ # ˙™ # ˙™ b ˙™ n ˙™ ˙™
f b œ ˙™ ˙™ œ™ œ™ ˙™ ˙™ bœ {? #˙™ ˙™ œ™ #œ™ ˙™ ˙™ bbœ n ˙™ ˙™ œ™ œ™ ˙™ ˙™ b œ ˙ ˙™ ˙™ œ™ œ™ ˙™ ˙™ b˙ 134
molto rall. b˙™ ˙™ ˙™ ˙™ ˙™ ° 4 & ∑ 4
#˙™ #˙™ n˙™ #˙™ ˙™ 4 & ∑ 4
#˙™ #˙™ #˙™ ˙™ ˙™ 4 & ∑ 4
™ ™ ™ ? œ ˙ ˙ œ ˙™ ˙™ ˙™ 4 ¢ ∑ œ ˙ ˙ œ ˙ ˙ ˙ 4
molto rall. # ˙™ n ˙™ ˙™ ˙™ ˙™ ##˙™ ##˙™ nb˙™ n#˙™ ˙™ # #˙™ n #˙™ n˙™ #˙™ ˙™ 4 & ∑ # ˙™ # ˙™ b ˙™ n ˙™ ˙™ 4
b œ™ ˙™ ˙™ œ™ œ™ ˙™ ˙™ bœ™ {? #˙™ ˙™ œ™ #œ™ ˙™ ˙™ bbœ™ 4 n ˙™ ˙™ œ™ œ™ ˙™ ˙™ b œ™ œ™ 4 ˙™ ˙™ œ™ œ™ ˙™ ˙™ bbœ™ 140 1 152 Te>mpo primo q=124 œ. œ#œ œ. œ œ . œ œ. . œ- œ- œ œ œ œ œ œ#œ ° 4 œ. œ bœ œ œ œ œ œ &4 J ‰ Ó Œ J ‰ Œ ‰ J f 3 mf 3 3 3 3
> 3 3 #œ œ. œ œ. j bœ œ œ nœ. œ. 3 3 3 œ 4 J ‰ #œ œ ‰ Œ Œ ‰ #œ. œ ‰ Œ . &4 . bœ J #œ J #œ. œ. œ. œ. œ. œ. œ. œ œ œ œ 3 . . . . . f 3 mf
3 3 3 3 3 3 3 3 3 3 4 j 3 3 3 &4 ‰ Œ œ. œ#œ œ. j ‰ #œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ > œ...... œ œ œ œ œ œ œ. œ. œ. œ. œ. œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. f . . . . .
> >. . . pizz. œ œ œ#œ œ œ œ œ œ œ a-rco - . . . . ? 4 J ‰ ?Œ Œ J ‰ œ Œ œ ‰ œ œ œ œ. œ œ. œ œ. œ ¢ 4 J 3 f 3 3 3 3
Tempo primo q=124 >. ” œ œ#œ œ. “j >˙ œbœ™ œ . b œ- - . œ . . 4 œ œ#œ ™ nœ bœ nœ œ œ œ nœ œ œ &4 œ œ. œ œ Ó Œ ‰ œ ˙ bœ J ‰b œ n œ #œnœ n œ œ œ 3 3 f f 3 3 3
n#œ œ œ œ œ œ œ . . 3 - - . {? 4 J ‰ Œ J ‰ Œ Œ ‰ j >˙ œ bœ™ œ j‰bbœ nœ œ œ. œ œ œ œ. 4 Ó & œ œ#œ nœ. œ 3 3 3 147
. œ . . œ 3 . . . œ. œ œ #œ nœ ° 3 3 3 œ œ œ #œ nœ œ #œ #œ & J ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ. œ. œ f œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ 3 3 > > 3 f
3 3 bœ 3 3 3 3 3 3 œ & >. œ œ œ œ œ œ œ œ œ œ œ #œ. œ œ #œ #œ nœ bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. . fp > > > f
3 > 3 3 3 3 3 œ œ œ œ. œ. œ. . . . 3 æ æ3 æ 3 æ æ3 æ & . . bœ œ œ bœ nœ œ œ œ œ œ œ œ œ œ œ œ œæ æ œæ œ œ œæ æ œæ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ œ œ > 3 3 > > fp mfp . . . bœ œ. œ #œ œ. œ œ- œ- œ œ- œ- œ œ. 3 ? ‰ J ‰ Œ ‰ œ œ œ ‰ œ œ œ #œ ‰ ‰ œ œ œ. œ ¢ J J J œ œ . #œ 3 3 . #œ 3 3 3 3 . p mp mf :“; bœ nœ™ œ œ œ œ ™ œ œ#œ loco 3 œ bœ bœ nœ nœ™ œ #œ œ œ œ j œ nœ & œ œ œ bœ™ J J ‰ #œ œ #œ œ œ œ œ J J 3 3 p 3 3
3 œ œ ™ 3 œ #œ œ œ œ. { œ bœ œ œ bœ™ nœ nœ j œ œ œ œ #œ œ. œ ? œ œ œ. ? & œ œ nœ™ œ #œ . œ. J J 3 3 3 3 151 153 > . > #œ . . œ . œ bœ. . . . . ° œ œ œ bœ œ œ bœ œ œ œ bœ bœ nœ nœ bœ bœ nœ œ nœ & #˙ #œ bœ nœ nœ 3 3 3 3 cresc3. 3 3 3 . > #˙ #œ . >œ . œ bœ. . 3 3 bœ bœ nœ. nœ bœ bœ 3 #œ œ œ bœ bœ œ œ bœ nœ & œ bœ œ œ œ nœ nœ nœ. . . 3 3 3 3 3 cresc.
3 3 3 3 3 3 3 bœ œ æ œ œ bœ bœ. 3 & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ bœ ‰ æ bœ nœ J ‰ nœ nœ ‰ bœ. Bnœ bœ nœ œ #œ œ œ œ œ œ œ œ œ œ œ œ. #œ œ æ æ æ œ æ æ æ > . œ. . . . 3 3 f cresc. 3 >. . . > >. . . >œ. œ. œ. #œ œ œ #œ. œ. œ. œ. œ. œ. bœ. œ. œ. . . . #œ œ œ œ œ œ #œ. 3 3 ? Œ B J ‰ Œ ?‰ bœ ¢ . bœ. nœ. bœ. nœ. p 3 3 3 3 3 3 3 f
> > . #œ 3 nœ . œ . bœ . . . . j3 #œ œ j œ bœ œ œ œ bœ. bœ nœ. nœ . bœ bœ nœ œ nœ #œ œ œ # œ œ œ bœ bœ œ œ nœ J œ bœ bœ nœ bœ nœ & œ #œ Jœ J J œ J J 3 3 3 3 3 3 3 3 3 3 f cresc. œ œ œ #œ œ œ œ œ œ. bœ bœ œ œ j 3 3 3 œ. bœ. nœ. {? œ œ œ œ. œ œ bœ œ œ bœ œ nœ Œ ? J & bœ nœ J J J b œ œ. œ . . . > . œ. 3 3 3 3 3 3 3 154 3 f cresc.
> . > . . . œ. . œ œ. bœ nœ œ nœ. #œ. œ. œ #œ > >. œ #œ . bœ œ. . > œ œ nœ bœ nœ œ 3 ° œ nœ #œ æ æ æ nœ. œ. œ. œ œ. . . . & ‰ æ æ nœ œ œ œ. œ #œ. 3 3 3 3 3 3 3 3 3 3 3
> . > > . . œ . bœ œ œ. . . . œ. #œ. . bœ œ nœ. #>œ œ œ nœ œ 3 3 3 3 œ œ #œ. œ nœ #œ œ ‰ œ æ æ nœ nœ œ œ œ œ œ & æ æ æ ...... #œ. œ. œ. œ. œ. œ. 3 3 3 3 3 3 3 3 > œ > . . . bœ . . > 3 . . . . . J œ œ. . œ nœ. #œ. œ. œ #œ œ. œ nœ #œ œ bœ nœæ æ æ . nœ œ œ œ œ #œ. œ. œ. œ. œ. . B ‰ bœ nœ. ‰ æ æ œ œ nœ #œ 3 3 3 3 3 3 3 3 3 3 > j ...... bœ œ. . > œ œ bœ œ #œ nœ #œ nœ™ #œ ? œ ‰ Œ ‰ nœ nœ #œ œ œ ‰ #œ œ nœ #œ æ æ œ nœ œ ¢ æ æ æ > 3 3 3 3 3 3 3 > . > ...... bœ œ. . >. . œ #œ. œ œ . > nœ #œ œ œ #œ œ nœ #œ œ . >˙ ™ #œ bœ œ œ. œ œ nœ #œ œ#œ œ#œ œ #œ nœ #œ œ & ‰ nœ #œ ‰ 3 3 3 3 3 3 3 6 3
. >œ . . . . œ. œ . œ > œ #œ œ 3 œ #œ bœ. . 3 3 3 6 > {? nœ œ ‰ bœ nœ œ #œ œ ˙ nœ #œ œ™ #œ ? œ œ#œ #œ & #œ. œ. . nœ. #œ. œ. . œ 3 3 3 3 > > 157 154 bœ œbœbœnœ nœ ° ...... œ™ #œ œ bœ ...... & œ œ œ œ œ œ œ œ œ œ œ #œ J J ‰ nœ œ œ œ nœ œ œ œ œ 3 3 3 3 3 3 3 3 f
3 3 3 3 >...... 3 œ œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ œ. œ. œ. œ. œ. œ. œ œ œ & #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ. œ. 3 3 3 3 3 3 3 f mp f
3 3 3 bœ œ œ œ œ œ œ œ œ œ. œ. œ. 3 3 3 3 3 . . . œ. œ. œ. œ. œ. œ. B nœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ ...... bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ > . . . 3 3 3 3 f mp f œnœ#œnœ#œ bœ œ nœ #œ ? #œ œ œ#œ nœ#œ nœ#œ 3 bœ nœ nœ. œ ¢ œ#œ ‰ nœbœ nœ bœ J ‰ nœ#œnœ#œ œ nœ#œ nœ#œ
œ™ œbœbœnœ nœ #œ #w œ™ #œ nœ bœ bœ bœ œ nœ nœ & J 3 f #œ bœnœbœ nœ bœ∫œbœbœnœ 3 nœ {? ?œbœbœ nœbœ nœ J nœbœ nœ bœ bœ nœ bœ œ nœ œ #œ & œ#œ œ #œ œ nœ#œ nœ#œ 160
q = q. > > 3 bœ. œ. nœ. œ. ° ...... 3 3 3 3 3 3 3 6 >. . . >. . œ œ œ œ œ œ œ œ œ œ œ œ #œ. 8 nœ. œ. œ œ œ œ œ & #œ.#œ œ œ. œ œ œ. œ œ œ #œ œ œ œ œ œ œ œ nœ 3 3 3 ...... > . . . . 3 > > #œ. #œ. œ. œ. > œ. > p sub. ff agressivo > >
3 3 3 3 > > 3 3 3 3 3 3 3 3 6 bœ. œ. œ. œ. & œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ œ 8 nœ œbœ œ œ bœ. œ. . .#œ. œ. œ. œ. œ. œ œ. #œ. œ. œ œ. œ œ. œ. œ. . . >. . . > >#œ. > œ. > œ. #œ. > œ. > œ. > œ. nœ. p sub. ff agressivo >
. . . . . 3 3 3 3 > > > œ. œ. œ. œ. œ. œ. œ. œ. œ.bœ œ œ #œ œ . 3 3 3 6 >. . . >. . . œ. œ. œ. œ. œ. œ. B #œ œ. œ œ. œ œ œ œ.#œ 8#œ œ œ œ œ œ >#œ. . > œ. . > . œ. #œ #œ. œ œ œ œ. œ œ œ. > . œ. 3 3 3 3 3 . . . > . p sub. ff agressivo > >. . . >. nœ 3 3 3 3 3 nœ œ œ œ œ. bœ. >. . >. ? œ 3 3 #œ 6
q = q. nœ j > n˙ œ œ #œ ‰ Œ Ó ∑ 6 ‰ œ ‰ œ ‰ œ ‰ œ & n˙ œ œ 8 bœ bœ bœ nœ #œ > >œ >œ ff p sub.
{ ∫œ œ bœ ‰ Œ Ó Œ ?‰ ‰3 j 3 ? 6 ‰ ‰ j & ∫˙ bœ J bœ j 8 nœ œ œbœ œ œ œ œ œ #œ #œ œ nœ œ œbœ œ œ œ œ œ 163 #œ 155 > . bœ. œbœ. . >- >- j arco ° . bœ. œ™ . bœ. bœ b˙ œ ˙™ œ & bœ ‰ bœ bœ ‰ ‰ Œ™ bœ œ > œ. œ. bœ nœ ff œ œ. . . f f œ. œ. bœ™ œ. . . œ. & bœ. œ™ ‰ bœ bœ b˙ œ ˙™ ∑ >bœ bœ. bœ bœ. - >- . . f ff > . > . . . . ™ . œ bœ. . j > bœ. j bœ. j bœ. œ. >œ. œ. bœ œ œ œ. œ bœ œ œ. œ #œ B bœ œ. œ œ bœ. œ. bœ bœ. œ. J J > > >. J > J ff agressivo f . œ œ œ œ . œ ...... ? j j . j b>œ. œ. >. . bœ J œ œ œ œ œ œ œ œ ¢ bœ œ œ œ bœ. bœ œ bœ bœ bœ œ J œ œ > . > >. . >. J >. . J ff agressivo mf
n>œ >œ >œ >œ >œ >œ >œ >œ b>œ >- >. œ. nœ œ œ œ œ œ #œ œ œ œ œ œ œ j nœ #œnœ œ œ œ œ & ‰ bœ œ™ œ™ ‰ bœ œ™ bbœ™ œ œ n#œ œ bœ™ œ™ bbœ œ™ b bœ™ œ J > >- >- ff mf œ j j œ > > j {? j bœ j bœ œ œ œ bœ œ j œ œ œ ‰ #œ œ œ j bœ bœ bœ œ bœ œ J J & œ œ œ Jœ >œ >œ œ bœ œ œ œbœ bœ œ bœ bœ bœ œ œ 168 (bring out)
. . œ. œ œ #œ nœ #œ nœ ° . œ. bœ œ bœ œ #œ nœ #œ nœ ‰ ‰ Œ™ . œ nœ œ œ œ œ œ œ œ œ œ œ œ & j œ æ æ æ æ æ æ æ æ æ æ æ æ œ. f pp sub.
. nœ™ œ œ œ œ. œ æ œ #œœ nœœ œ œ œ œ œ œœ #œœ œ œ & œ bœ. æ æ œ æ #œ nœ œ #œ nœ #œ œ œ. . æ æ æ æ æ æ æ æ æ æ æ œ. f pp sub. mf ™ . . bœ™ bœ æ B nœ œ. œ bœ œæ æ j j ‰ j bœ œ œ œ œ œ œ œ œ >. bœ. >. nœ. b>œ nœ. f pp sub. > . œ œ œ œ. > ? œ. œ. œ. œ. œ. bœ œ. . >. j j ¢ œ œ œ œ œ ‰ œ œ œ œ J >. >. . >. f pp sub. > > > > > > > > œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ bœ bœ > > œ œ œ œ J œ bœ bœ bœ bœ j & J œ J œ bœ bœ > œ pp sub. > { ‰ ‰ ‰ j ‰ ?œœ & œ œ œ #œ œ œ œœ œœ œœ J œ > œ > œ > œ > œ > œ > œ > 174 156 ° œ #œ nœ #œ nœ œ #œ nœ #œ nœ œ #œ nœ #œ nœ œ #œ nœ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ sempre cresc. f sempre cresc. marcato e pesante
œ nœœ #œ nœ œ #œ nœ œœ #œ nœ œ #œ nœ œœ #œ nœ œ #œ nœ œœ #œ nœ œ #œ & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ sempre cresc. f sempre cresc. marcato e pesante
B ‰ j ‰ j ‰ j ‰ j œ bœ œ œ œœ nœ œ œœ œœ œ œ œ œœ œ œ œ >. . b>œ . >. . > . >. . œ . >. . œ . f sempre cresc. > marcato e pesante > sempre cresc. ? j j j j ¢ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ >. . >. >. . >. >. . >. >. . >. sempre cresc. f sempre cresc. marcato e pesante
>œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ >œ œ bœ #œ œ œ œ œ bœ #œ œ œ œ œ & #œ nœ œ œ œ œ bœ #œ œ œ œ œ
sempre cresc. f sempre cresc. marcato e pesante > > > > > > {? ‰ œœ œœ ‰ œœ œœ ‰ œœ j ‰ œœ j œ J œ œ J œ œ œœ œ œœ œ œ 178 > >
>. œ œ œ nœ #œ œ œ. . . ° œ #œ œ #œ œ œ . œ. œ™ œ . œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & æ æ æ æ æ æ æ æ æ æ æ æ sf ff j œ œ œ œ œ œ œ œ œ #œ œ nœ œ j & nœ #œ œ œ #œ œ nœ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ æ æ æ æ æ æ æ æ æ æ æ æ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. >œ > > > > sf ff . j >. . ™ . œ œ. . j œ œ œ. œ œ œ œ. œ œ B ‰ œ œ œ œ ‰ œ œ œ œ œ œ #œ. n>œ œ. bœ. œ œ . >. > . > sf ff œ ? ‰ œ j ‰ j nœ œ œ œ œ œ œ œ œ œ œ œ ¢ œ. #œœ nœœ œ bœ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. > . > . >. œ. >œ bœ. > > > > sf ff > > > >™ bœ œ œ bœ n˙™ . . b œ œ œ b œ ∏ n ˙™ . œ œ . œ œ œ œ ∏ ˙™ . œ œ ∏
J bœ ∏ œ b œ ∏ ‰ œ œ & œ œ ∏ œ œ > ∏ bœ ∏ œ b œ ∏ œ ∏
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j œ™ #œ™ œ j œ™ & œ œ œ œ œ œ œ™ œ™ œ ‰ œ œ œ œ œ œ œ œ œ œ œ™ œ. œ. œ. œ. œ. œ. œ™ œ™ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. > > >œ™ >œ™ >œ > > > > ™ œ™ >. . >œ. œ. >œ. œ. > œ. . . ™ œ™ œ œ œ œ. . œ. œ™ œ . œ. œ œ œ B œ œ œ œ œ œ œ œ œ
> >œ > >. . œ. ? œ œ œ œ œ œ œ œ œ œ ¢ œ œ œ œ œ œ ‰ œ œ J œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ >. . . >. . . > . . >. . . >. . >. . >. . >. . .
> - nœ- bœ- - > . . > - - œ b œ b œ- n œ b œ œ ˙™ . œ. œ œ œ. œ b œ œ
œ œ ∏ ∏ bœ nœ ™ bœ nœ
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∏ ∏ œ ˙ ‰ œ œ œ
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∏ œ™ œ ? ∏ œ™ œ #œ œ œ œ ‰ œ ‰ œ ∏ œ™ œ œ . œ œ œ œ bœ { ∏ œ œ > ∏ œ b œ œ™ œ œ œ >. œ. œ bœ œ™ œ > œ™ ˙™ œ 186 (bring out) > > > mf sf sf
. ™ ™ œ œ #œ . œ™ œ . œ œ. œ. œ™ œ ˙ >. . œ™ ° œ œ œ. œ œ. œ œ œ. œ & J J ff . ™ ™ >. . œ™ œ . œ œ. œ. œ™ œ ˙ >. . œ™ œ™ #œ™ œ œ. œ œ. œ œ œ. œ œ™ ™ & œ™ œ™ >œ™ >œ™ >. . >. . >. >œ. œ. œ œ œ œ œ . . ™ ™ >. œ œ œ œ œ œ œ œ. œ™ œ œ. œ œ œ. œ™ œ ˙ œ œ. œ™ B &œ. œ. œ.
> . . . ™ œ™ ˙™ > >œ >œ > œ. . œ. œ™ œ . œ. œ œ œ œ œ. . œ. œ™ ? œ œ œ œ œ ¢ ‰ œ œ J œ
>œ-™ œ >. . > > > - - - > >- ™ œœ™ œœ >- œ œ œ œ œ nœ bbœ œ œ œœ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œœ œ ™ œ ™ ‰ œœ œœ™ J œœ J & œœ™ œœ™ >œ œ ff œ- œ bbœ j j bœ j œ {? œ bœ œ œ œ j œ œ œ œ œ œ œ bœ œ œ œ j bœ œ nœ œ œ œ œ œ œ œ J œ bœ œ -œ œ œ œ œ œ œ œ œ œ œ >œ 191 œ œ œ nœ œ (bring out) 158 > > > > > > > > . . œ. œ- œ- œ- œ. œ- œ- œ- œ. œ . œ. œ. œ œ ° œ 9 6 8 J œ œ ‰ œ œ ‰ œ œ ‰ œ œ 8 Œ™ ™ bœ™ & J J œ™ œ sf ff magestic œ . œ. œ. . œ œ. œ. 9 œ >œ- >œ- >œ- >œ. >œ- >œ- >œ- >œ. 6 8 J #œ œ ‰ œ œ ‰ #œ œ ‰ œ œ 8 Œ™ ™ bœ™ & J J nœ™ œ sf ff magestic . . œ . œ œ œ. 9 . j j 6 ™ & œ. œ 8 œ #œ œ ‰ œ œ ‰ #œ œ ‰ œ œ 8 Œ œ™ bœ™ J >- >- >- >. >- >- >- >. œ™ sf ff magestic . œ . œ œ. œ. . > > > > > > > > œ. œ 9 œ #œ- œ- œ- œ. #œ- œ- œ- œ. 6 ? 8 J
œ™ œ™ œ™ ##œ™ >- >- >- >. >- >- >- >. nœ™ œ™ œ™ œ™ # #œ™ 9 n œ œ œ œ œ œ œ œ 6 œ™ œ™ œ™ & 8 ‰ n#œ œ ‰ œ œ ‰ #œ œ ‰ œ œ 8 Œ™ nœ™ œ™ œ™ J J nœ™ œ™ œ™ sf ff magestic œ #œ œ™ # >œ- >œ- >œ- >œ. # >œ- >œ- >œ- >œ. œ # œ œ™ j ##œ œ j œ œ j ##œ œ j œ œ {? œ #œ œ 9 œ œ J œ œ J 6 J 8 8 >œ >œ >œ >œ n˙™ ˙™ 197 n˙™ ˙™
œ ˙™ ˙™ at the> .frog >. >. ° bœ bœ >. œ bœ œ >. & Œ™ ‰ œ œ œ Œ™ . #œ. œ bœ. œ œ > > >. > >. >. sffz sffz ˙™ ˙™ œ at the frog & bœ Œ™ ‰ œ. œ bœ œ œ Œ™ bœ > . >. . œ . #œ. œ bœ. œ œ > > >. > > >. > >. >. sffz sffz ˙™ ˙™ > œ at the frog bœ. >œ. >. & bœ Œ™ ‰ œ. œ œ œ Œ™ bœ > . . #œ. œ bœ. œ œ > > > >. > >. >. sffz sffz a>t the frog ˙™ ˙™ œ. >. >. >. > ? ™ œ bœ œ . ™ ¢& bœ bœ œ Œ ‰ œ œ Œ . #œ. œ bœ. œ œ > > >. > >. >. sffz sffz j ˙™ “” bbœ œ™ ˙™ >™ b œ œ™ ˙™ œ™ ‰ ‰ bœ œ™ ˙™ b˙™ ∑ œ™ Œ™ Œ™ & b œ œ™ ˙™ b ˙™ ™ J b˙ œ™ >œ™ sffz sffz
>œ™ {? b˙™ ∑ bœ™ Œ™ ? œ™ Œ™ b˙™ ˙™ b ˙™ & œ™ b˙™ ˙™ b˙™ œ™ 202 > 159